1. Prepared by:
Chong Chung Puo 21415941 Marion Ang 21415914
Muhammad Syukri B Selamat 21266323, Nurwafah Binte Kharuddin 21427446
Shahfii Mohamed Ali 21427301 Siti Mahmudah Binte Abdul Muttalib 21427375
CONSULTANCY REPORT
Commisioned by:
Communication Strategies and Tactics for First Take

2. 1
TABLE OF CONTENTS
Executive Summary.................................................................................................................................... 2
Introduction................................................................................................................................................ 3
Client’s Profile ............................................................................................................................................ 4
Target Audience ..................................................................................................................................................... 5
Needs and Motivation........................................................................................................................................... 7
Communication Objectives........................................................................................................................ 8
Key Message............................................................................................................................................... 8
Communication Strategies and Tactics .............................................................................................................. 9
Partnership and Collaboration (Communication Objective 1) .................................................................... 9
Digital Presence and Media Relations (Communication Objective 2) ....................................................... 11
Relationship Marketing (Communication Objective 3) ............................................................................. 16
Budget ................................................................................................................................................................... 19
Evaluation................................................................................................................................................. 20
Conclusion ................................................................................................................................................ 21
Annexes..................................................................................................................................................... 22
References................................................................................................................................................. 26

3. 2
CONSULTANCY
BACKGROUND REPORT
EXECUTIVE SUMMARY
The Substation, which is the converging point for many aspects of
Singaporean artistic culture, is running a monthly event, called First Take,
which seeks to further broaden the reach of local film, and encourage the
networking, as well as continued contributions from budding Singaporean
filmmakers. This report outlines tactics and strategies, which have been
specifically designed to guide the Substation towards achieving these two
objectives.
Market research conducted prior to the undertaking of this report has shown
that 58 per cent of the Singaporean populace are open to being “converted”
into “consumers” of arts, be it in dance, theatre or music. Additionally, a
survey conducted by the report committee has found that 86 per cent of
respondents are receptive towards First Take, even though 62 per cent of
them had not heard of the event before. These figures indicate that there is a
broad scope available for the undertaking of a campaign aimed at prompting
greater participation of these targeted audiences at Substation events, and
by extension, in First Take.
In line with the objectives of First Take, a series of strategies have been
proposed, and categorized into three distinct groups: Partnerships and
Collaboration, Digital Presence and Media Relations, and Relationship
Marketing. Each strategy proposes a targeted approach at raising the profile
of First Take among Singaporeans, through a concerted and complementary
mix of tactics that range from institutional cooperation, establishing a
stronger digital presence, securing media coverage, and building relationships
with the key audiences. To facilitate the success of any similar campaigns in
[ARTISTIC
MISSION]
“A critical and rigorous
developmental space for
interdisciplinary
contemporary art practice
in the context of
Singapore and the region
through active
partnerships,
collaborations and
dialogues with diverse
artists and communities.”

4. 3
future, an evaluation system to be conducted post-campaign has been introduced, to assist in determining the
methods, which resonate better with key audiences.
With the support of background research, an independent survey, and the development of tactics based on the
considerations of threats, opportunities, limits, this report hopes to have introduced a viable communications
strategy for the accomplishment of First Take’s objectives.
INTRODUCTION
The Substation is Singapore’s first independent Contemporary Arts Centre that was founded in 1990 by arts
director Kuo Pao Kun, and aims to “promote research, experimentation and innovation in the arts”, and aspires
“To be a critical and rigorous developmental space for interdisciplinary contemporary art practice in the context
of Singapore and the region through active partnerships, collaborations and dialogues with diverse artists and
communities” (The Substation, 2014).
However, even as the arts scene grows exponentially, it remains confined to a small community, with the
general public still uninterested or unaware of the developments of the local arts sphere. As Singapore embarks
upon the third phase of the Global Arts of the City ideology with Renaissance City Plan1
, The Substation should
leverage on the building momentum of the growing artistic movement and community to further plant itself as a
prime arts hub or institution.
More specifically, this consultancy report will set out the communication strategies and key messages, along
with the communication goals and objectives of The Substation’s ‘Moving Images’ film initiative First Take. First
Take is monthly event that takes places every first Monday of the Month. The venue for this event has largely
been The Substation (Arts Centre) itself, Timbre Arts House) and La Salle (Arts School). First Take is to be a
platform for new filmmakers as well as anyone who is interested in filmmaking to showcase, meet, exchange
ideas and show their work (The Substation, 2014). Local short indie films are showcased during this event,
followed by a question and answer session. This event is widely popular among novice arts practitioners.
Additionally, communication strategies by other similar art institutions or organizations will be examined, and be
accompanied with analysis and comparison on how arts (including film) has been promoted overseas, and what
degrees of success these programmes have yielded.
1
Initiative by National Arts Council and National Heritage Board to promote arts and culture in Singapore. [Link:
http://www.mccy.gov.sg/~/media/MCCY-corp/Topics/Arts/Files/RCPIII_Bk1.ashx]

5. 4
CLIENT’S PROFILE
The Substation is Singapore’s first independent contemporary arts centre, which promotes and champions
research, experimentation and innovation in the arts. The Substation also plays host to film exhibitions, theatre
productions and film screenings, which particularly pays homage in nurturing emerging artists. Among the few
programmes and initiatives offered by The Substation, ‘Moving Images’ First Take is one of the programmes
formulated for every one and anyone who are willing to watch local films. The programme, which has been
going on for 10 years strong is held first week of every month (normally on Mondays) and will run for two to
three hours.
Client’s Needs (Objectives)
The Substation’s main organizational goal is to promote itself as the primary space for interdisciplinary artistic
practices locally and regionally through active partnerships, collaborations and dialogues with diverse artists and
communities. The Substation also seeks to extend its reach beyond the artistic community, and propositioning
itself to be the leading venue that nurtures aspiring filmmakers and facilitates audiences’ appreciation toward
local film. From this, the needs of First Take can be categorized into two main and distinctive objectives.
1. The primary objective of First Take is to provide a free and open platform where anyone and everyone can
screen their short films to the general public.
2. The secondary objective is to provide a place/platform where the filmmaking community can gather and
share information. The screenings are followed by a short Question and Answer (Q&A) session with the
filmmakers, where they often end up sharing tips, and having discussions about the film.
Resource(s) and Constraints
The Substation’s only resource factor is its convenience of usable space. Despite hosting itself as a contemporary
arts venue, First Take has been staging their event at The Black Box (a hall within The Substation space) until
recently, when the programme was moved to the LASALLE College of the Arts in anticipation of event
disruptions stemming from SMU’s construction project in Fort Canning Green, located just behind The
Substation. Another constraint is their minimal outreach efforts and success in such efforts, as the programme
remains popular only within the filmmaking community. The final constraint factor is The Substation’s lack of
partnership and collaboration with other arts organizations. A brief SWOT analysis for First Take is provided
below (Figure 1).

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Figure 1: SWOT Analysis
TARGET AUDIENCE
As most art forms are widening their target audience, it is appropriate to review literature across different arts
genres in determining the target audience for First Take. From the Singapore’s Biennale Festival, Chang and
Mahadevan (2013) identified and segmented Singapore’s arts audiences through their attitude and behavior
towards arts into four distinct groups. The devoted art lovers categorized as ‘converted’ constitute 14% of the
population, while the ‘unconvertible’ segment – who have no interest in arts or participating in at arts events -
make up 28% of the population. The other 22% and 36% of the population refers to the ‘high potential’ and
‘potential’ segments respectively. The last two segments present themselves as favorable target audiences for
First Take’s primary objective. This group has a tendency to respond positively and provides a good investment
to arts programmes or events. At the same time, the mindset of this group can be developed to greater
encourage their active participation in future artistic endeavors. (Lim, 2012).
Although The Substation are looking to develop their audience to ‘everyone’, it is important to scope a more
specific audience. To further understand the groups that Chang and Mahadevan have identified above, it is
insightful to use Hayes and Slater’s framework (Tajtakova and Arias-Aranda 2008) (Table 1) and classify
audiences based on their level of attitudinal (positive vs. negative) and behavioral loyalty (high vs. low
attendance).

7. 6
Yes (interest) No (interest)
Yes
(Attendance)
A
Art Lovers
(current audience)
*Existing market
C
Potential
(Indifferent, the participation is
influenced by other people or by
circumstances)
*Secondary soft target
No
(Attendance)
B
High Potential
(intenders, latent interest)
*primary soft target
D
Unconvertible
(indifferent/hostile)
* hard target
Table 1: Adapted from Hayes & Slater (Tajtakova and Arias-Aranda 2008)
By analyzing the table above and looking at The Substation’s need to widen their target audience, the ‘everyone’
that they have identified are made up of the ‘Potential’ and ‘High Potential’ group. Audience development
remains a critical growth for The Substation to deepen organization’s role in the arts industry (Hand 2011, p. 89).
However it is safe to give the least attention towards the ‘unconvertible’ group as converting them will involve a
high investment with unpredictable results (Tajtakova and Arias-Aranda 2008).
The Substation should also strive to retain their small following of film enthusiasts. The majority of the First Take
audiences are polytechnic students enrolled in arts courses, and therefore, it would be apt to designate them as
a core target audience, seeing as the number of those enrolled in arts courses in 2012 constituted the biggest
proportion of all diploma students (Ministry of Culture, Community and Youth 2013). It is interesting to note
that while the arts student might be the existing and the soft market, they could also become advocates for First
Take. A relationship communication strategy, (sharing and inviting friends to join) could mean they would play
an active role in converting the ‘potentials’ group to attend First Take (Tajtakova and Arias-Aranda 2008). From
the Youth Arts Qualitative Study (National Arts Council 2011), most students who pursued arts in the course of

8. 7
their tertiary education were highly likely to display a passionate interest in the discipline, and as a result, are
expected to possess a ‘higher’ need to be educated.
Although they already have a steady following within the film community, The Substation continues to search
for and discover new aspiring filmmakers, with the objective of introducing them to First Take as well as the
greater network of more experienced film directors. With the rising number of institutions offering film studies
such as School Of The Arts (SOTA) - which recently launched its Film programme - polytechnics, universities and
Institute Of Technical Education, there is anecdotal evidence of a growing demand and supply for local short
films.
NEEDS & MOTIVATION
To understand the needs and motivation of the target audience, it will be insightful to use the taxonomy of
benefits (Boorsma 2009).
1. Functional or cultural benefits /educational benefits – linked to a thirst for cultural knowledge.
2. Symbolic benefits linked to the need to demonstrate one’s social position or personality.
3. Social benefits linked to the need for social contact and interaction with others.
4. Emotional – or hedonistic - benefits linked to the desire for pleasurable experiences, which can be
stimulating or relaxing experiences, and to the need to escape from daily problems and routine.
A careful relook at the list above reveals that the most common motivators are (i) emotional impact, (ii)
escapism, and (iii) edutainment (Radbourne et al., 2009). Notably, these motivation(s) among potential
audiences can be distinct and overlapping. Contemporary arts audiences are now classifiable more commonly as
consumers, having a different set of expectations and needs from a decade ago. According to Lehman (2009),
the museum sector reveals that audiences seek a ‘sense of empowerment through arts, not only wanting to
observe in the artistic creation process, but to also be active participants at the same time. Audiences no longer
passively attend an arts event, but they seek to be engaged and are ‘on a quest for self-actualization where the
creative or cultural experience is expected to fulfill a spiritual need’ (Radbourne et al., 2009).
Furthermore, the report committee’s research conclusively arrives at the notion that “marketing to mass
audiences involves a mediated advertising strategy, as arts in particular is said to be an acquired ‘taste’ in the
sense that you have to be exposed to it in order to develop the taste” (Sayre 2008, p. 85). An intensity chart
outlining our target audience and communication objectives is illustrated in Annex B, p. 20.

9. 8
Radbourne’s research also largely resonates with the findings (Annex A, pp 18-19) derived from our own
research, which had determined that audiences were driven mostly by entertainment (emotional impact) and
cultural exposure (edutainment).
COMMUNICATION OBJECTIVES
The Substation and First Take remain generally unfamiliar to people outside the artistic community. Thus it is
significant to first increase the awareness to the target audience and provide knowledge to the audience. From
the client’s programme needs and the above SWOT analysis (Figure 1), three main communication goals can be
drawn out, and will serve as guiding parameters in establishing relevant communication strategies for
implementation. The proposed communication objectives are:
1. To enhance the visibility (and educate current and potential audiences) of The Substation and First Take by
10-20%.
2. To persuade audiences to watch more local films, (and remove the perception that Singaporean films are
inferior) and increase First Take’s viewership by having 75% attendance at every screening.
3. To inform, remind and highlight to film enthusiasts (students) about First Take, and have a subscription
database of 50 members after the campaign concludes in six months’ time.
*KEY MESSAGE*
The key message for The Substation’s First Take will be:
“Support independent local films”
The communication strategies and tactics will underline the key message as a broad approach on how the
targeted primary and secondary audience can be persuaded and influenced to support independent local films.

10. 9
COMMUNICATION STRATEGIES AND TACTICS
[Refer to Annex C, p. 23 for the scheduled communication timeline.]
PARTNERSHIP AND COLLABORATION (COMMUNICATION OBJECTIVE 1)
1. Partnership With Audiences
The Substation’s objective of expanding the reach of the arts to the public can be achieved through establishing
a multi-beneficial partnership with various independent institutions, by showcasing the works of emerging
artists, such as the screening of local film efforts or experimental forms of art. Based on our survey (Annex A, pp
20-21), these locations have been selected based on the needs of the audience, which includes, (1) convenience,
(2) interest, (3) ambience to be used as a hosting venue for events by The Substation.
2. Partnership with Independent/Public Institutions
Conducting First Take at a series of fresh venues will spread the reach of its name and awareness
amongst audiences who regularly visit those places. It remains important to ensure that the locations or
institutions selected also attract the same audience demographics that may develop an interest in First
Take, and actively attend future screenings.
Books Actually
The company seeks to encourage more literary interest among Singaporeans, particularly of
homegrown works, and draws some parallels with the aim of First Take, whose objective is to help
the growth of the local film scene. As literature and film fall under the broad category of arts, a
partnership between both parties would be complementary and fitting. To ensure that Books
Actually benefits from First Take being held there, a slip of paper entitling the holder to a 10 per
cent discount of all Books Actually purchases for that dat can be distributed to First Take
attendees once the event has concluded.
Timbre
Timbre, which is located in the Substation itself, is likely to attract the same crowds that may
attend First Take, who may fall under the “high potentials” and “potentials”. Similar to the tactic
used in Books Actually above, participants attending First Take at Timbre should be offered a
token discount off their food and beverage purchases.

11. 10
National Library
First Take can conduct a collaboration with the National Library’s SG Memory Bank Project, and
call for filmmakers to contribute short films about their own memories of Singapore as they grew
up. This will conclude with a screening of these old Singapore-themed films in December at the
National Library.
3. Public art and QR code
Drawing inspiration from the Esplanade's tunnel (Figure 2), public art could be showcased at the proposed
venues to draw attention to The Substation. A Quick-Response code, also known as, QR code, could be
embedded into these art installations. Simply by scanning the QR code (Figure 3), members of the public will be
directed to First Take's micro-site. This tactic serves the purpose of educating the public by providing quicker and
easier access to First Take's micro-site.
Figure 2 Figure 3
Figure 2:
Fajari, F. (2014) Minor Cities. Retrieved from http://www.speakcryptic.com/minor-cities.html
Figure 3:
QR CODE we created that links to The Substation's First Take page: http://www.substation.org/first-take/

12. 11
DIGITAL PRESENCE AND MEDIA RELATIONS (COMMUNICATION OBJECTIVE 2)
Enhancing visibility for a product, service or event remains largely dependent on traditional print and broadcast
media, as well as social media, which has flourished and is currently among the most cost effective ways of
reaching out to general and niche audiences, with the aid of platforms such as Facebook, Instagram and Twitter.
However, for an outreach campaign to be effective, one must take into consideration the target market
demographics, psychographics, and also be cognizant of the forms of media which the audiences are most likely
to expose themselves to. As such, First Take’s campaign to spread visibility should be specific in the media
partners and platforms it chooses to cooperate with, and not simply aim to be seen across every possible
medium.
The Substation can leverage on the unparalleled communicative abilities offered by social media to expand its
outreach. Online platforms can facilitate outreach opportunities, viral marketing, collaboration and participation
from social media users (Reid 2011, Hausmann 2012). While they have gained over 7,000 likes on their Facebook
page, their levels of audience engagement is still insufficient. However, there is potential for The Substation to
further increase the number of likes and kick start online activity. First Take’s primary audience’s age bracket of
15-24 years are the most active users of social media, therefore a campaign aimed at procuring their attention
should be one of the core wings of First Take’s communication plan. This section proposes the development of
two main digital platforms for First Take: social networking sites (Facebook, Instagram and Twitter), and the
establishment of a Microsite for First Take.
1. Curated Content for Social Networking Sites
Creative content is key to growing engagement levels across all social networking sites. Posts related to First
Take presenting ‘un-entertaining’ information will not encourage engagement or attract new likes. We
recommend releasing a weekly ‘fact card’ similar to the campaign run by Australia’s Council of the Arts. These
graphic ‘fact cards’ will present facts in a witty, punchy fashion that will prompt users to share the posts on their
own social media networks. Both the content and the aesthetics of the ‘fact cards’ are equally important to
attract users to click on the posts. It will be essential to run this digital campaign for the six months, culminating
in the ‘Best of First Take’ event that will be staged in December. Consistency of these posts is crucial, and
releasing a numbered series of ‘fact cards’ will incite a sense of anticipation for such new posts every week. This
will pique new audience interest and increase the ‘digital visibility’ of First Take.
The ‘fact cards’ could be made available in different dimensions for each social networking sites (Facebook,
Instagram and Twitter) as seen in Figure 4.

13. 12
Among the types of content that these posts can contain are:
Figure 4: Fact Card Examples
Among the types of content that these posts can contain are:
 Statistical facts on the Singaporean film scene
 Quotes from successful local filmmakers on how they started
 Profiles of First Take filmmakers
 Fun facts or untold behind the scenes stories of featured films

14. 13
a. Hashtags
To create conversational value, pre-event, during the event and post-event, all posts made on any social
networking sites should be accompanied with hashtags. A live Twitter feed could be activated during the
questions and answers segment with the filmmakers. Audiences in the theatre can post their questions on
Twitter and by doing so, activate a more ‘lively’ online presence for First Take. We suggest that the digital
‘fact cards’ campaign above include hash tags such as:
 #FirstTake: to be applied to every fact card
 #sglovefilms : to be used where statistics or facts are given
 #thisiswhereitbegins: to be applied on quotes from successful local filmmakers
 #loveatFirstTake: profile of First Take filmmakers
b. Film Trailers
For any film, trailers or short previews of the production is the single most important tool to attract and
increase viewership. Trailers are significant as film audiences are reliant on visuals and previews of the
films in their decision making process. A trailer that evokes interest and curiosity will lead to a desire to
watch the film, and as a result boost audience numbers for First Take.
As First Take screens random films every month - a concept that is foreign for new audiences - providing
them a glimpse of what they can expect for future screenings will reduce the audience’s perception of risk
(of not being entertained) and raise the possibility of securing their future attendance at First Take.
c. Microsite
Providing information and making information accessible is an important part of the audience experience
(Radbourne et al. 2009, p. 22). Information relating to First Take is highly lacking in visibility and depth on
The Substation’s main website. All information related to First Take is only featured on The Substation’s
activity calendar. To rectify this informational deficiency, we recommend The Substation to create a
specific microsite for First Take. The microsite will feature:
 Detailed write-ups about the filmmakers
 A list of the previous films screened at First Take
 Trailers of the upcoming films

15. 14
 A comprehensive calendar consisting solely of First Take’s scheduled events and venues
 Forum to discuss all things related to First Take
 Attendee reviews
Providing such relevant information with an easy medium of access will improve potential and existing
audiences’ anticipation and set the scene for First Take. At the same, this also builds a connection
between the audiences and the filmmakers, thereby drawing them to the “communication loop”
(Walmsley 2011, p. 339).
Besides digital communicative efforts, traditional print and broadcast media remain as key outreach platforms
that First Take may engage to connect with potential audiences. The tactics proposed here are concerned with
extending the reach of First Take through more conventional media outlets such as the press and radio.
2. Story Pitching
A similar tactic to bring First Take to potentially new audiences is to package a series of print media features
with local publications such as newspapers and magazines. The package will comprise of interviews with film
community icons or directors, reviews of the event or films screened, and editorials which encourage audiences
to be supportive of the works of local filmmakers through participating in First Take, and Singaporean film in
general.
Specifically, the newspaper in question should be the Life! section of The Straits Times, since it is more focused
on lifestyle issues such as the arts, fashion, and travel. Besides the national newspaper, live interviews may be
conducted on radio networks such as Lush 99.5 FM and Kiss 92 FM, for the brand of music broadcasted on those
networks are of an “Indie”, or alternative genre in nature, and is more accessible to young adults, which
comprise a large proportion of First Take’s target audience. Kiss 92 FM provides an additional benefit for First
Take, as it works with its parent company, Singapore Press Holdings (SPH) – which owns The Straits Times - to
provide information and freebies to its listeners. This added advantage ensures that the interview and stories
can be communicated to both print and radio audiences.
A similar tactic to bring First Take to potentially new audiences is to package a series of print media features
with local publications such as newspapers and magazines. The package will comprise of interviews with film
community icons or directors, reviews of the event or films screened, and editorials which encourage audiences

16. 15
to be supportive of the works of local filmmakers through participating in First Take, and Singaporean film in
general.
Specifically, the newspaper in question should be the Life! section of The Straits Times, since it is more focused
on lifestyle issues such as the arts, fashion, and travel. Besides the national newspaper, live interviews may be
conducted on radio networks such as Lush 99.5 FM and Kiss 92 FM, for the brand of music broadcasted on those
networks are of an “Indie”, or alternative genre in nature, and is more accessible to young adults, which
comprise a large proportion of First Take’s target audience. Kiss 92 FM provides an additional benefit for First
Take, as it works with its parent company, Singapore Press Holdings (SPH) – which owns The Straits Times - to
provide information and freebies to its listeners. This added advantage ensures that the interview and stories
can be communicated to both print and radio audiences.
Magazines are another effective medium which can assist First Take in its outreach efforts. Since the target
demographics are young adults, the magazines which First Take should seek a collaborative partnership with are
those which focus on trends relating to their interests. Juice and I-S Magazine project a chic and urban image,
which caters exclusively to younger audiences with their focus on music, fashion, and lifestyle trends.
Additionally, Cleo and Men’s Health are also good platforms which reach out to the core group of young women
and men, respectively. The readers of these magazines are more likely to be young, adventurous, and open to
new experiences, and bringing them stories of successful local filmmakers is a good way to raise their awareness
of First Take.
A tactic that can be applied with story pitching is for more aggressive publishing of featured articles towards the
end of the six-month campaign timeline, culminating in the final First Take of the year in December where the
best works of the year can be screened for the enjoyment of participants. First Take’s screening of the best of
the year’s films should be covered in these magazines and the newspapers more aggressively in November, and
could include full-page or two-page features and write-ups, providing a comprehensive look at First Take and
what it has to offer. This detailed coverage will benefit potential audiences who may have missed out on the
previous features, and still be exhaustive enough to garner their interest.
The Substation should bear in mind that “marketing strategies may attract customers but if the experience itself
is not satisfying, promotional techniques will not bring them back” (Kotler and Scheff, 1997). The Substation
should provide and ensure quality programming that will slowly change the perception of the masses to
disregard the notion that local films lack quality.

17. 16
RELATIONSHIP MARKETING (COMMUNICATION OBJECTIVE 3)
1. Building partnerships and understanding audiences
A fundamental limitation that arts organizations often place on themselves is their failure to form and
nurture long term relationships with patrons to ensure their financial security (Rentschler, et.al 2002).
To ensure that audiences are retained, it is essential to understand their needs, as Parker (2012) had
elaborated. Parsons et al., (2008) further highlighted the importance of understanding the desires and
needs of potential audience members. It is recommended that the organization conducts groundwork
research on its consumer’s needs and wants to build on the capabilities of its service quality and
audience engagement.
Some steps that the organization can consider in their information gathering methods are the use of
post-performance conversations and digital surveys. With such tools, The Substation can carry out
targeted research campaigns directed at its target and current audiences for feedback, which can be
used to aid their future strategies, as well as better cater to unfulfilled wants of the audience.
It has been conclusively shown that “The difference from other modern marketing practice is the kind of
engagement the art seeks with their customers or patrons. The patron is central to the arts experience”
(Rentschler et al., 2002).
2. Database
a. Online Registration – “Eventbrite”
To build up its database of participants, First Take may employ the use of “Eventbrite”, which facilitates
the process of online registration for various events. Since the primary target group refers to the younger
individuals, it is similarly expected that they would be technologically savvy, and the use of online
registration should complement that particular demographic. Interested participants may register to
attend First Take through the “Eventbrite” webpage, thereby creating a fuss-free mechanism for
organizers of First Take to determine the real-time response and receptivity to the event. This provides
valuable insights into what venues may be more favorable among audiences.
Would-be participants will be able to register their interest and receive an immediate response on the
status of their application. This platform indirectly delivers multiple benefits. As the participants complete
their registration, they may spread word of the activity via word-of-mouth to encourage their friends to
participate as well, which is in essence an element of soft marketing.

18. 17
b. Physical Registration
While interested audiences may register their attendance through “Eventbrite”, there is a certain group
which risks being neglected: walk in participants who decide to attend the event on the day itself. First
Take can still tend to this group through the exercise of physical registration, though it would be best to
do so only at the end of each session.
Both online and physical registration complement the other, and leads to the development of a database
that First Take can then leverage upon to further spread word of the event. Additionally, the data
gathered can be deciphered to evaluate the feasibility and sustainability of the event, and also provide a
better understanding of trends, indirectly guiding First Take and The Substation to craft more streamlined
strategies.
c. Enhancing Promotional Cause
In the lead-up to the event, First Take should embark on aggressive promotion to generate interest and
awareness. It is encouraged that First Take use persuasive phrases to generate the excitement and attract
more participants. Examples include “before the seats fly away”, “register early to avoid disappointment”
and “while seats last”.
d. Behavioral Effect
First Take is a platform for budding local filmmakers to exchange views and share ideas. Organizers may
invite participants to register with First Take to receive exclusive information on upcoming activities. The
event host can tap on the opportunity of physical interaction at each event, and encourage the audience
to participate in future First Take sessions and other events.
3. Endorsement
The efforts of local filmmakers have been garnering more attention lately, as they make their way across the
world, get screened at international film festivals, and collect awards. Anthony Chen’s 2013 film Ilo Ilo garnered
critical praise from global film critics, and has collected several awards in the film festivals it has been screened
at, which range from India, Ukraine, France and the United States. First Take can ride on Ilo Ilo’s positive
momentum, highlighting the talents and capabilities that young and budding filmmakers here possess. Here,
First Take may be endorsed by the successes of local directors whose work has received acclaim – albeit on a
more local or regional scale – by inviting these directors to participate in First Take, either answering questions,
conducting dialogue sessions, or engaging with the budding filmmakers, giving them advice on how to improve
their work. Additionally, the presence of these prominent filmmakers should be covered in the media as was

19. 18
previously mentioned earlier, to further spread the word of how local filmmakers stand to benefit from
attending First Take.
4. Subscription
After building up an expansive database through the various activities and tactics above, the move to construct
a subscription system becomes viably important. This can be achieved through collaterals being sent to
subscribers and art lovers by letters, emails and invitations. It was also revealed (through a study of performing
arts organizations in Australia) that subscribers have higher levels of satisfaction, trust and commitment, and
have more positive intentions of supporting and donating to the organization (Johnson and Garbarino, 2001;
Rentschler et al., 2002). Some suggested tactics and methods are listed below.
a. Growing the database
Other than building up the database through the online and physical methods as mentioned earlier,
database enhancement may accompany other Substation initiatives that promote film as well. Among
these initiatives are special events, anniversaries and exhibitions that are conducted in collaboration with
other local arts institutions.
b. Providing regular and relevant information to subscribers
The subscribers should be given notice of local films/upcoming events to sustain interest levels. Such
information should remain exclusive and not be made available to non-subscribed parties.
Email
The Substation’s programmes (including First Take) should, and must be distributed to subscribers
regularly. More specifically, it should be done at the end of each month. Doing so would be fitting with
the occurrence of First Take, as it is hosted only the first Monday of each month. Along with The
Substation’s monthly programme, attachments and visual-graphic content must be clearly displayed in
emails, which should also ensure that subscribers have easy access to First Take’s microsite.
Letters and Invitations
Invitations and letters are effective forms of collateral to inform and remind subscribers (filmmaking
community) on upcoming First Take screenings, due to a personal touch. This may cascade to film-
related events including educational institutions, local arts and film festivals that the Substation
supports. Such events include the Singapore Film Festival, Singapore Arts Festival, Singapore
International Festival of the Arts, and YFest, among others.

20. 19
c. Exclusivity and Incentives
The Substation can further enhance audience participation at First Take through the introduction of a
membership system that offers exclusive benefits for subscribers, creating a distinction between them
and non-members. This membership offer should be tied to The Substation’s objectives and available
programs as a whole, rather than solely to First Take.
The membership’s benefits can include some of the following:
 An exclusive Substation membership card
 Access to The Substation’s resources (space and events)
 Special invites given for partner events supported and/or organized by The Substation or other arts
institutions and festivals
 Accumulation of hours for members who consistently participate in First Take. Collected hours
entitle members privileges to certain programs.
 Access to First Take’s virtual community.
The “soft benefits” of such a membership are that upcoming filmmakers (subscribers) have a community
platform they can turn to for assistance if they require help in their own filmmaking efforts.
S/N No. of Hours
Accumulated
(hrs)
Audience
Type
Entitlement
1 9 Moderate Exclusive invites to events supported and organized by
The Substation and other participating entities
2 0 to 6 Fair-weather Sneak Peek on The Substation programmes
through collaterals
Table 2: Summary of perks for membership programs.
* Based on the measure of 1 session equaling 3 hours per First Take Event
BUDGET
First Take’s communication campaign utilizes funds only under the Other Operating Cost (OOE) category, and
not on manpower or equipment. The report committee proposes a budget of $38,500. A detailed breakdown of
these costs have been tabulated in Annex D, p. 24.

21. 20
EVALUATION
Increased audience participation
For every event across venues in partnership with First Take, a short survey will be handed out to audiences to
track the number of First Take’s first timers and repeat attendees.
The survey will contain only two short questions:
1. Are you attending First Take for the first time?
2. Where and how they got to know?
Increased number of social media ‘likes’, ‘follows’ and online engagement
Online engagement and activity throughout the course of the implemented campaign can be monitored and
assessed from the number of ‘likes’ and ‘follows’ across different social networking sites. Analyzing the trends of
online conversation traffic, the amount of posts shared, and also the total number of hits and unique visitors on
First Take’s microsite will reveal the degree of the tactics’ effectiveness. Similarly, page views and the amount of
“likes” given to uploads of previously screened First Tale films on Vimeo and YouTube will reflect how visibility
has been enhanced for audiences on the digital and physical platform.
Increase numbers of subscribers and active participation
A key indicator of a successful strategy would be indicated by a rise in the number of subscribers (through the
mailing list), among those who contributed to more films for screening and active participation in First Take's
events. Another way to estimate the depth of the strategy’s efficacy would be to conduct interviews with these
subscribers after the six months. Questions raised in the interview should include a review of their expectations,
and what they hope to see in future First Take events.

22. 21
CONCLUSION
After a detailed analysis of the opportunities and threats present, with the support of market research and the
findings of an independent survey, the strategies and tactics have been proposed based on the resources and
limitations First Take faces, as well as its alignment with First Take’s objectives. As Chang and Mahadevan (2014)
had pointed out, there is a broad spectrum of potentially “convertible” Singaporeans (58 per cent) that the
Substation and First Take can capture. Through the implementation of the tailored communication strategies
that this report has outlined, there are considerable prospects in the pipeline for future Substation and First
Take events.

23. 22
ANNEXES
Annex A
Survey Results

24. 23
Annex B

25. 24
Annex C
Communication Timeline (2 slides)

26. 25
Annex D
Budget Proposal
First Take Budget Expenditure (6 months)
Estimated budget of $38 500
Other Operating Expenses
S/N Item Cost
1 Photocopying and printing charges (Collaterals and promotional causes) $15,000
2 Publications (Story-pitching through print media) $2,500
3 Entertainment & Refreshment $3,000
4 Audit fees $3,000
5 Transportation, postage & courier services $10,000
6 Card Membership (Subscription) charges $5,000
Total $38,500
OTHER OPERATING EXPENSES (OOE)
Justifications
Materials & Consumables
Photocopying and printing charges: As collaterals and print brochures will be necessary for First
Take’s communications campaign, charges for the procurement of print materials will be incurred.
Features, editorials or interviews placed across newspapers, magazines, radio broadcasts, and
electronic media.
Others
Entertainment & Refreshment – Provisions of entertainment in the form of sound systems, musical
interludes and post-event refreshments may be necessary across all six events within the
campaign timeline.
Audit fees – In ensuring accountability and good financial practices, it is imperative to conduct an
audit review to ensure that all allocated funds are properly disbursed.
Transportation, postage & courier services – For the delivery of collaterals in bulk, and the
facilitation of transport for the Arts Mentors for all six sessions of First Take.
Card Membership (Subscription) charges – Costs set aside for the production of unique
membership cards for members of First Take.

27. 26
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