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Traditional Advertising

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Pros and Cons of traditional media. The criteria for great "ads' has changed, and the it may not even be an "ad" as we know it.

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Traditional Advertising

  1. 1. TRADITIONALADVERTISING WORKS BYINTERRUPTING AMESSAGE WITH A LESSINTERESTING MESSAGE Daniel Stein
  2. 2. WHAT EXACTLY ISTRADITIONAL MEDIA?
  3. 3. edwardboches.com
  4. 4. WHY DOES IT GET ABAD NAME?
  5. 5. RESEARCH THE MEDIAAND HOW YOURCOMMUNITY REALLYCONSUMES IT
  6. 6. TRANSMEDIANARRATIVE
  7. 7. Advertising strategy is no longer aboutinspiring the creation of only an an ad.*Edward Boches
  8. 8. Stefan Mumaw: Chasing the Monster Idea
  9. 9. 1. IS IT EMOTIONAL?2. DOES IT CREATE AN EXPERIENCE?3. DOES IT ENTERTAIN?4. IS IT NOVEL?5. IS IT AUTHENTIC?6. DOES IT TELL A STORY?7. DOES IT SCARE YOU? Stefan Mumaw: Chasing the Monster Idea
  10. 10. PRINT
  11. 11. AD PLACEMENT
  12. 12. SHELF LIFE
  13. 13. DEMOGRAPHICS
  14. 14. SO, WHAT ARE WETALKING ABOUT
  15. 15. SIMPLE = GOOD
  16. 16. WHY USEMAGAZINES,PERIODICAL, TRADEJOURNALS, ETC?
  17. 17. SELECTIVEAUDIENCE
  18. 18. PRINT QUALITY &FLEXIBILITY
  19. 19. BETTER SHELF LIFE
  20. 20. OPTIONS & DESIGNFLEXIBILITY
  21. 21. MISSINGSOMETHING?
  22. 22. WHY NOT USE IT?
  23. 23. EVENTUALLY THEYGET TOSSED
  24. 24. IT CAN BE PRICEY
  25. 25. CLUTTER
  26. 26. WHAT ABOUTNEWSPAPERS?
  27. 27. COLUMN INCHES
  28. 28. WHY USE IT?
  29. 29. TARGET A DEMO
  30. 30. TIMELY
  31. 31. SPECIALIZED
  32. 32. CONVENIENT
  33. 33. SIZE
  34. 34. WHERE IT FALLSSHORT:
  35. 35. EXTREMELY SHORTSHELF LIFE
  36. 36. NOT FOCUSEDREADING
  37. 37. PRINT QUALITY
  38. 38. IT’S DYING
  39. 39. OUTDOOR
  40. 40. OUTDOOR ISCONSTANT
  41. 41. YOUR OUTDOORSHOULD DELIGHTPEOPLE
  42. 42. IT FORCES YOU TOBE SIMPLE
  43. 43. IT’S A GREAT PLACETO GETOUTRAGEOUS
  44. 44. LOCATION MATTERS
  45. 45. SIMPLE = GOOD
  46. 46. DIGITAL OUTDOOR
  47. 47. TRANSIT
  48. 48. WALLSCAPES
  49. 49. TRANSITSHELTERS
  50. 50. THE LIST GOES ONAND ON
  51. 51. GUERILLAMARKETING
  52. 52. Achieving conventional goals, such asprofits and joy, with unconventionalmethods, such as investing energyinstead of money.*Jay Conrad
  53. 53. WHY USE IT?
  54. 54. FLEXIBILITY
  55. 55. HIGH IMPACT
  56. 56. OPTIONS
  57. 57. ECONOMICAL
  58. 58. INTERACTIVE
  59. 59. BUILDS BRANDAWARENESS
  60. 60. IT’S ALWAYS ON
  61. 61. WHY NOT USE IT?
  62. 62. DOESN’T CHANGEOFTEN
  63. 63. PAYING 24 / 7
  64. 64. YOU ONLY HAVE AFEW SECONDS
  65. 65. People aren’t looking at a billboard, theyaren’t even looking at the freakin’ roadanymore.*Gary Vaynerchuk
  66. 66. TV
  67. 67. IN ORDER TO CREATEA GREAT TV SPOTYOU MUST FIRSTWRITE ONE Luke Sullivan: Hey Whipple Squeeze This
  68. 68. DON’T SELL A SO-SOTV SPOT
  69. 69. KNOW YOURBUDGET
  70. 70. DON’T GET CARRIEDAWAY, YET Luke Sullivan: Hey Whipple Squeeze This
  71. 71. STUDY THE REELS Luke Sullivan: Hey Whipple Squeeze This
  72. 72. SOLVE THE PROBLEMVISUALLY Luke Sullivan: Hey Whipple Squeeze This
  73. 73. CAN YOU MAKE THEVISUAL DO ALL OFTHE HEAVY LIFTING? Luke Sullivan: Hey Whipple Squeeze This
  74. 74. THINK IN TERMS OFA STORY Luke Sullivan: Hey Whipple Squeeze This
  75. 75. SIMPLE = GOOD Luke Sullivan: Hey Whipple Squeeze This
  76. 76. Luke Sullivan: Hey Whipple Squeeze This
  77. 77. IT’S OKAY TO THINKBIG TOO Luke Sullivan: Hey Whipple Squeeze This
  78. 78. OPEN STRONG Luke Sullivan: Hey Whipple Squeeze This
  79. 79. ENTERTAINTHROUGHOUT THEENTIRE SPOT Luke Sullivan: Hey Whipple Squeeze This
  80. 80. DON’T FORCE TV TOLOOK LIKE APRINT AD Luke Sullivan: Hey Whipple Squeeze This
  81. 81. WRITE SPARINGLY Luke Sullivan: Hey Whipple Squeeze This
  82. 82. AVOID SHOWING WHATYOU’RE SAYING ANDSAYING WHAT YOUARE SHOWING Luke Sullivan: Hey Whipple Squeeze This
  83. 83. TV IS GOING TOCONSTANTLYCHANGE, KNOW THEVIEWING HABITS
  84. 84. CHOOSE HOW YOUWANT TO PITCHYOUR CONCEPT Luke Sullivan: Hey Whipple Squeeze This
  85. 85. SCRIPT
  86. 86. SUPER: WORDS ON SCREENVO: VOICE OVERSFX: SOUND EFFECTSANNCR: ANNOUNCER
  87. 87. STORYBOARD
  88. 88. KEYFRAME
  89. 89. SCENARIO Luke Sullivan: Hey Whipple Squeeze This
  90. 90. WHAT MAKES AGOOD TV SPOT?
  91. 91. DIRECTION
  92. 92. ATTENTION TODETAIL Luke Sullivan: Hey Whipple Squeeze This
  93. 93. TALENT / ACTING
  94. 94. EDITING
  95. 95. WHY TV?
  96. 96. IMPACT
  97. 97. UNIVERSAL ACCESS
  98. 98. HUGE AUDIENCE
  99. 99. SEGMENTATION
  100. 100. WHY NOT TV?
  101. 101. TIME LIMITS
  102. 102. HIGH COST
  103. 103. IT’S INTRUSIVE
  104. 104. DVR
  105. 105. DVRHULU+
  106. 106. DVRHULU+NETFLIX
  107. 107. STILL INTERESTED?
  108. 108. RADIO
  109. 109. RADIO CAN BEVISUAL Luke Sullivan: Hey Whipple Squeeze This
  110. 110. Sometimes I’ve believed as many as siximpossible things before breakfast*Lewis Carrol
  111. 111. AVOID THE CLICHÉS Luke Sullivan: Hey Whipple Squeeze This
  112. 112. GRAB THEIRATTENTION Luke Sullivan: Hey Whipple Squeeze This
  113. 113. FUNNY IS FINE, BUTBE INTERESTINGFIRST Luke Sullivan: Hey Whipple Squeeze This
  114. 114. 10s = 25-25 WORDS20s = 40-45 WORDS30s = 60-70 WORDS60s = 130-150 WORDS Luke Sullivan: Hey Whipple Squeeze This
  115. 115. THE BED
  116. 116. THE DONUT
  117. 117. WHY RADIO?
  118. 118. IT’S EVERYWHEREAND IT’S FREE
  119. 119. SUPPORT
  120. 120. WHO, WHAT, WHY,WHEN, & WHERE
  121. 121. WHY NOT RADIO?
  122. 122. IT’S NOISE
  123. 123. LISTENERS
  124. 124. TIME CONSTRAINTS
  125. 125. LACK OFCONNECTIVITY
  126. 126. PANDORASPOTIFYRDIO
  127. 127. As long as there are carpenters, painters,lifeguards and cars, there will also beradio.*Luke Sullivan
  128. 128. THE OLD CRITERIA:
  129. 129. edwardboches.com
  130. 130. FRESHORIGINALUNEXPECTEDBEAUTIFUL edwardboches.com
  131. 131. NOW INCLUDES:
  132. 132. edwardboches.com
  133. 133. SHAREABLEINTERACTIVECONTINUOUSPARTICIPATORY edwardboches.com
  134. 134. AND, NO, IT IS NOTDONE BY JUSTUSING THIS:

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