This document discusses radio and television advertising. It provides information on different techniques used in radio advertising like straight announcer technique and jingle-announcer technique. It also discusses elements of television commercial production like visual techniques, principles from David Ogilvy, and factors that increase production costs. Additionally, it covers buying television time and evaluating programs based on cost per rating point and cost per thousand.

1. THE ADVERTISING
MEDIA:
BROADCAST
V I C TO R I N O B R OT H E R S

2. RADIO ADVERTISING
• RADIO IS A SIGNIFICANT MEDIUM FOR ADVERTISERS APPEALING TO THE MASS
MARKET AND HOUSEWIVES
• WHEN YOU LISTEN TO A VOICE ON THE RADIO, YOU ARE HEARING IT ONE-ON-ONE
BASIS
• MANY PEOPLE HAVE A CLOSE RAPPORT WITH A RADIO PERSONALITY TO WHOM
THEY LISTEN FAITHFULLY
• OVER THE YEARS ADVERTISERS HAVE DEVELOPED CREATIVE TECHNIQUES TO
COMPENSATE FOR THIS MISSING VISUAL APPEAR

3. RADIO ADVERTISING
• The electrical impulses by a radio station refers to the signal.
• All signals are transmitted by electromagnetic waves called radio waves.
• All electromagnetic waves have height, known as amplitude, wherein range can be
similar to the difference between ocean wave and a ripple in a pond.
• On the basis of dimensions, the principle of amplitude modulation(AM) has variation
and in sound wave, while frequency remains constant.
• The principle of frequency modulation(FM), sound wave varies with a corresponding
variation in its frequency.

4. RADIO ADVERTISING
• The negotiated cost of time depends on classifications such as drive time rate; run-of-
station (ROS) rate; and special features rate .
• Drive time rate is an advertisement delivered during station breaks or program breaks.
• Special Features advertisement are delivered just in time with a traffic update, news
report, or time report.
• Radio advertisements may be delivered live or pre-recorded.

5. • Most radios station accept these maximum word lengths for live commercial scripts.
– 10 sec = 25 words
– 20 sec = 45 words
– 30 sec = 65 words
– 60 sec = 125 words
• The prerecorded commercials are those produced by an agency.
• In recording radio advertisements, elements include the words, sounds which may have 3 basic
sources, including manual sounds – produced live with studio props; and electronic – sounds
that are produced electronically on special studio equipment; and music.

6. STEPS IN RADIO ADVERTISEMENT
PRODUCTION
1. The advertiser selects a producer or agency.
2. The producer or agency prepares bill of materials or costs estimates.
3. The producer or agency selects a recording studio.
4. The producer or agency selects talents.
5. The producer or agency selects a musical director and background music.
6. Rehearsal is scheduled.
7. Studio records music and sound separately.
8. The studio combines musical scoring and soundtrack with voices.
9. The producer or agency prepares several copies taken from master tape for distribution to radio
stations or programs.
10. The advertisement is now ready on the air!

7. COMMON RADIO TECHNIQUES
1. Straight Announcer Technique – an announcer or personality delivers the entire
script.
2. Two-Announcer Technique – two announcer alternate delivering sentences or
groups of sentences of advertising copy.
3. Announcer-Actor Technique - includes actor or actress voice giving reactions to the
line delivered by the announcer.
4. Slice-of-life Technique – a dialogue which reenacts a true-to-life scene involving the
listener or talent in a problem situation where possible solution is the advertised
product or service.
5. Jingle-Announcer Technique - a part of the copy is musical sound or song, combined
with a line delivered by the announcer which sets the product different from the
adverstisement on radio.

8. • 6. Customer Interview Technique – the announcer may talk to an actual customer in
the field or within his studio booth, relating his experiences about the product or
advertised.

9. QUALITIES THAT MAKE RADIO ADVERTISEMENT
MORE EFFECTIVE
1. Simplicity – use short, simple, picture-building words.
2. Coherence – move from one topic to another; from one product feature to the next.
3. Rapport – always make use of the word “you”, referring to the listeners and customers
over the radio.
4. Believability – adhere to truth in advertising; honesty in claims for features, benefits and
advantages
5. Interest – develop listeners desire to experience the product advertised.
6. Distinctiveness – make the advertisement unique with its tagline or slogan, music, sound
or voices
7. Compulsion – finally desires for action, attract listeners to act and buy the product or
experience the service advertised.

10. TELEVISION ADVERTISING
• Producing commercials for television is the most expensive.
• As the technology of electronic commercial production has soared, so have costs and
complexity, resulting in greater specialization in the production process.

11. SCRIPT DEVELOPMENT
• Script for television advertisement is called the storyboard.
• This is divided into two parts; the audio and video
• The video includes camera action, scenes;
• Whereas, the audio includes the spoken words, the sound effects, and music.

12. DAVID OGILVY PRINCIPLES IN
TELEVISION ADVERTISING
• The opening should be a short, compelling and attention getter – a visual surprise,
compelling I action, drama, humor or human interest.
• The demonstrations should be interesting and believable – authentic and true to life;
they should never appear to be a camera trick.
• The commercial should be ethical, be in good taste, and not offend local mores.
• The general structure of the commercial and the copy should be simple and easy to
follow. The video should carry most of the weight, but the audio must support it.
• The characters should be the living symbol of your product – they should be
appealing, believable, and most of all, relevant.

13. FURTHER, COURTLAND BOVEE AND WILLIAM ARENS
OFFERED THIS CHECKLIST FOR CREATING
EFFECTIVE TELEVISION COMMERCIALS
1. The opening should be pertinent, and relevant. It should permit a smooth transition to the
balance of the commercial.
2. The situation should lend itself naturally to the sales story – without the use of extraneous
distracting gimmick’s.
3. The situation should be high in human interest.
4. The viewer should be able to identify with the situation.
5. The number of elements should be held to a minimum.
6. The sequence of ideas should be kept simple.
7. The words should be short, realistic, and conversational. Sentences should be short.
8. Words should be interpret the picture and prepare the viewer for the next scene.
9. Audio and video should be synchronized.
10. The audio copy should be concise – without waste word.

14. 11. Five or six seconds should be allowed for the average scene, with none less than
three seconds.
12. Enough movement should be provided to avoid static scene.
13. Scene should offer variety without “jumping”.
14. The commercial should look fresh and new.
15. Any presenters should be properly handled – identified, compatible, authoritative,
pleasing, and non-distracting.
16. The general video treatment should be interesting.

15. VISUAL TECHNIQUES FOR TELEVISION
COMMERCIAL
• Spokesperson – Uses a ‘presenter’ standing in front of the camera delivering the copy
directly to the viewer.
• Testimonial – This should use a well known celebrity who is believable; or a satisfied
costumer.
• Demonstration – This should show how the product works and how to use it. It should
be relevant.
• Close-up – A voice over is used than a presentation by someone on the screen, where
a close-up or focus is done on the product alone.
• Story-line – This is similar to making an miniature movie, except that the narration is
done off-screen

16. • Slice-of-life – This is a little play that portrays a real- life situation.
• Costumer Interview – This involve non-professionals, an interviewer or off-screen voice
asking a housewife about her experience in using the product advertised.
• Vignettes and Situations – This consists of series of fast paced scene showing people
enjoying the product advertised as they enjoy life.
• Animation – This may use computer-generated graphics and simulations, or cartoonist
technique with puppets or photo animation.
• Stop motion – Objects and animals, or the product itself is given life in this technique.

17. ELEMENTS OF PRODUCTION

18. ELEMENTS OF PRODUCTION
• Factors of the rising in commercial production:
– Superstar talent
– Location shooting
– Large cast – people and animals
– Animation
– Opticals, special effects, stop motion
– Studio shooting
– Set decoration
– Photographic equipment
– Legal requirements
– night, week-end filming

19. BUYING TELEVISION TIME
• The advertisers determine available programs and rates, evaluate programs ratings,
negotiate for the price, determine reach and frequency, sign the contracts, and, finally,
review the affidavits or performance to be sure the commercials ran as agreed.
• Availability of programs can be determine by media buyers thru sales representative
for the stations they are considering for placement of the advertisement.
• In determining which programs to place the advertisement, the media buyer must
select the most efficient ones in terms of target audience. To determine most efficient
program, cost per rating point (CPP) and the cost per thousand (CPM) must be
computed.
Where: Cost per Rating Point = Cost/Rating
Cost per Thousand = Cost/Thousands of People

20. Supposing the program “Deal or No Deal” has a rating of 5, reaches 400,000
people om the audiences, and costs P30,000 for a 30-second spot on Channel 2. Then:
Cost per Rating Point = P30,000/5
= P6,000.00
Cost per Thousand = P30,000/400,000
= P75

21. • Obviously, the lower the cost per thousand, the more efficient the show is against the
target audience. The role of the media buyer is to make a comparative assessment of
the stations effectiveness in terms of CPP and CPM, and finally choosing the best
package.
• The buyer can receive a lower rate by accepting run-of-schedule positioning, which
means the station chooses when to run the commercial.
• Contract for the airing of an advertisement.
• An affidavit of performance is an evidence that the commercials were aired as paid for.

22. • The TV households (TVHH) is the number of households that own television sets. The
percentage of homes in a given area that have one or more TV sets turned on at any
particular time is called Households using television (HUTV); and the percentage of TV
households in an area turned on to a specific program is the program rating or the
shares of audience. Such that, if there are, 1,000 households with television and 500
are turned on, HUT is 50% (500/1,000). Form the 500, 80 are turned on the Channel X,
the 16% is the program rating (80/500).