2009年12月6日

TVC: Future of TV advertisements

Future of TV advertisements

Though advertisements for cigarettes are banned in many countries, advertisements can still occur by the broadcast of race events.

The introduction of digital video recorders (also know as digital television recorders or DTRs), such as TiVo, and services like Sky+, Dish Network and Astro MAX, which allow the recording of television programs onto a hard drive, also enable viewers to fast-forward or automatically skipthrough advertisements of recorded programs.

There is speculation that television advertisements are threatened by digital video recorders as viewers choose not to watch them. However evidence from the UK shows that this is so far not the case. At the end of 2008 22 per cent of UK households had a DTR. The majority of these households had Sky+ and data from these homes (collected via the SkyView[15] panel of more than 33,000) shows that, once a household gets a DTR, they watch 17 per cent more television. 82 per cent of their viewing is to normal, linear, broadcast TV without fast-forwarding the ads. In the 18 per cent of TV viewing that is time-shifted (i.e. not watched as live broadcast), viewers still watch 30 per cent of the ads at normal speed. Overall, the extra viewing encouraged by owning a DTR results in viewers watching 2 per cent more ads at normal speed than they did before the DTR was installed.

The SkyView evidence is reinforced by studies on actual DTR behaviour by the Broadcasters' Audience Research Board (BARB) and the London Business School.

Other forms of TV advertising include Product placement advertising in the TV shows themselves. For example, Extreme Makeover: Home Edition advertises Sears, Kenmore, and Home Depot by specifically using products from these companies, and some sports events like the Sprint Cup of NASCAR are named after sponsors, and of course, race cars are frequently covered in advertisements. Incidentally, many major sporting venues, in North America at least, are named for commercial companies, dating back as far asWrigley Field. Television programs delivered through new mediums such as streaming online video also bring different possibilities to the traditional methods of generating revenue from television advertising.[16]

Another type of advertisement shown more and more, mostly for advertising TV shows on the same channel, is an ad overlay at the bottom of the TV screen, which blocks out some of the picture. "Banners", or "Logo Bugs", as they are called, are referred to by media companies as Secondary Events (2E). This is done in much the same way as a severe weather warning is done, only these happen more frequently. they may sometimes take up only 5 to 10 percent of the screen, but in the extreme, they can take up as much as 25 percent of the viewing area. Subtitles that are part of the program content can be completely obscured by banners. Some even make noise or move across the screen. One example is the 2E ads for Three Moons Over Milford, which was broadcast in the months before the TV show's premiere. A video taking up approximately 25 percent of the bottom-left portion of the screen would show a comet impacting into the moon with an accompanying explosion, during another television program.

Google's Eric Schmidt has announced plans to enter the television ad delivery and optimization business. This is despite the fact that Google only has a text advertising business model at present. There are few details in place about how this may occur, but some have speculated that they will use a similar model to that of their business strategy directed at radio broadcast, which included the acquisition of operations system support provider.[17][18]

Online video directories are an emerging form of interactive advertising, which help in recalling and responding to advertising produced primarily for television. These directories also have the potential to offer other value-added services, such as response sheets and click-to-call, which greatly enhance the scope of the interaction with the brand.

During the 2008-09 TV season, Fox experimented with a new strategy, which the network dubbed "Remote-Free TV". Episodes ofFringe and Dollhouse contained approximately ten minutes of commercials, four to six minutes fewer than other hour-long programs. Fox stated that shorter commercial breaks keep viewers more engaged and improve brand recall for advertisers, as well as reducing channel surfing and fast-forwarding past the ads. However, the strategy was not as successful as the network had hoped and it is unclear whether it will be continued into the next season.

2009年12月1日

Brand Building: Title sponsor and Product placement

宮心計與霸王

宮心計大結局取得50點收視,是近期最hit的電視節目,這幾個禮拜,很多廣告客戶都要求廣告在宮心計時段內播出。唯一不用擔心要以高價入spot的廣告商,便是宮心計的冠名贊助霸王洗頭水。

霸王做title sponsor,應該是不錯的投資。宮心計跑出,不知是否意料之外,反正收視越高,廣告商就越有利。冠名贊助對霸王來說,還有spillover effect,即是在廣東省收看的觀眾,仍會看到節目中出現的霸王商標,不像廣告時段中的廣告在當地的訊號中被插播了當地廣告。即使在香港,霸王的5秒廣告總是在廣告時段的最前或最後的最佳位置出現,比起入regular spot又更著數。

然而,對於已經頗有名氣的品牌來說,這類型的冠名贊助對品牌並沒有太大幫助。因為這類冠名就真的只是冠「名」,提升知名度有餘,卻無法增加消費者對品牌的好感。反而,一些知名度較低的品牌,可以藉贊助來踏出brand building的第一步,即是建立知名度

假如所贊助的項目或節目有質素,往往更會為不知名的品牌帶來一種有quality的感覺。例如BenQ、Samsung等台灣和韓國品牌打進國際市場時,便以贊助世界盃、歐洲國家盃、奧運等大型賽事,提升品牌知名度,成效不錯。

除了title sponsorship,另一種更加能提升brand equity的手法是product placement。好的product placement當然不是像在TVB處境喜劇內,將產品變成「背景道具」那麼表面。正在上映的電影「2012」,戲中便有名貴汽車Bentley的product placement。那一幕是這樣的,億萬富豪逃難,在危急關頭要坐上汽車逃命,正當車上各人包括司機都手忙腳亂無法噠著部車之際,億萬富豪喝停眾人,在寧靜的環境中以聲控解鎖,汽車隨即噠著。雖然Bentley不是title sponsor,但這個product placement的效果,卻遠比title sponsor好。既能讓觀眾留意到Bentley這個品牌,更能為這個名字賦予豪華、高科技、保安系統出色等正面的感覺。

本地電視劇的product placement很多時只停留在表面,真正能帶動品牌的product placement,應是潛意識的軟銷。外國很多名牌時裝、名表、名車都以類似的手法贊助電影與電視,而製作單位包括編劇亦能配合品牌需要,度身訂造內容,香港在這方面顯然還有待改進。

TVC

Television advertisement

"Commercial Break" redirects here. For the song by Chumbawamba, see Pictures of Starving Children Sell Records.
A television advertisement or television commercial – often just commercial or TV ad (US), or advert or ad (UK/US), or ad-film (India) – is a span of television programming produced and paid for by an organisation that conveys a message. Advertisement revenue provides a significant portion of the funding for most privately owned television networks. The vast majority of television advertisements today consist of brief advertising spots, ranging in length from a few seconds to several minutes (as well as program-length infomercials). Advertisements of this sort have been used to sell every product imaginable over the years, from household products to goods and services, to political campaigns.

The effect of television advertisements upon the viewing public has been so successful and so pervasive that in some countries, like the United States, it is considered impossible for a politician to wage a successful election campaign without the purchase of television advertising. In other countries, such as France, political advertising in television is strictly restricted,[1] and some, like Norway, even completely ban it.


Characteristics

Many television advertisements feature catchy jingles (songs or melodies) or catch-phrases (slogan) that generate sustained appeal, which may remain in the minds of television viewers long after the span of the advertising campaign. Some of these ad jingles or catch-phrases may take on lives of their own, spawning gags or "riffs" that may appear in other forms of media, such as comedy movies or television variety shows, or in written media, such as magazine comics or literature. These long-lasting advertising elements may therefore be said to have taken a place in the pop culture history of the demographic to which they have appeared. One such example is the enduring phrase, "Winston tastes good like a cigarette should," from the eighteen-year advertising campaign for Winston cigarettes from the 1950s to the 1970s. Variations of this catchy dialogue and direct references to it appeared even as long as two decades after the ad campaign expired. Another is, "Where's the Beef?", which grew so popular that it was used in the 1984 presidential election by Walter Mondale. And yet another popular catch-phrase is "I've fallen and I can't get up", which still appears occasionally, decades after its first use.

Advertising agencies often use humor as a tool in their creative marketing campaigns. In fact, many psychological studies tried to demonstrate the effect of humour and indicate the way to empower advertising persuasion.


An animated TV advertisementAnimation is often used in advertisements. The pictures can vary from hand-drawn traditional animation to computer animation. By using animated characters, an advertisement may have a certain appeal that is difficult to achieve with actors or mere product displays. For this reason, an animated advertisement (or a series of such advertisements) can be very long-running, several decades in many instances. A notable example is the series of advertisements for Kellogg's cereals, starring Snap, Crackle and Pop. The animation is often combined with real actors.

Other long-running ad campaigns catch people by surprise, or even tricking the viewer, such as the Energizer Bunny advertisement series. It started in the late 1980s as a simple comparison advertisement, where a room full of battery-operated bunnies was seen pounding their drums, all slowing down...except one, with the Energizer battery. Years later, a revised version of this seminal advertisement had the Energizer bunny escaping the stage and moving on (according to the announcer, he "keeps going and going and going..."). This was followed by what appeared to be another advertisement: viewers were oblivious to the fact that the following "advertisement" was actually a parody of other well-known advertisements until the Energizer bunny suddenly intrudes on the situation, with the announcer saying "Still going..." (the Energizer Battery Company's way of emphasizing that their battery lasts longer than other leading batteries). This ad campaign lasted for nearly fifteen years. The Energizer Bunny series has itself been imitated by others, via a Coors Light Beer advertisement, in motion pictures, and even by current advertisements by Geico Insurance.

2009年11月20日

PPM: pre-production meeting

PPM即是pre-production meeting,一般在拍廣告片或廣告硬照前,導演或攝影師都會與廣告公司和客戶開會,解決製作方向的問題。但不同的公司有不同的風格,有些公司/導演/攝影師會巨細無遺的將每項製作細節交代清楚,也有option供客戶選擇;有些則只有草草幾張reference,要大家用想像和信任行事。

以下是一些基本的電視廣告片PPM項目,大家可以了解一下,再在不同的PPM上學習適應不同的工作風格。

Director Treatment: 一般情況下,導演會先講述對故事板的個人觀感,然後闡釋準備如何演繹故事板,希望突出的地方及整體的觀感等。部分導演更會以文字寫出來,放在文件裡。

Shooting Board: 這與Storyboard並不一樣,雖然有些時候可以把故事板當作Shooting Board。Shooting Board是經導演消化後的故事板,Storyboard以交代故事概念為主,Shooting Board則詳列拍攝的分鏡細節,拍攝角度等,所以大部分情況Shooting Board都比Storyboard較詳細。

Tone Reference: 同一個故事可以拍攝出不同的格調,導演會以不同的參考材料,例如其他廣告片、電影片段,甚至雜誌上的相片,解釋畫面的格調。

Pack Shot Reference: 由於一般客戶較重視產品本身的拍攝效果,有些導演會仔細交代拍攝產品的角度、方法、擺放位置、商標展示效果等。若由演員使用有關產品,更會討論演員的表情、使用手法等影響觀眾對有關產品印象的細節。

Location: 若拍攝需要外景,便會交代現場環境,拍攝角度,拍攝時間,場地安排等細節。

Props: 主要道具

Talent Casting: 主要演員的選角,除了候選演員的Comp Card或相片外,還會有試鏡片段。

Wardrobe Reference: 大部分的廣告片製作都會特別為演員購買或訂造服裝,在購買或訂造前,製片公司會提供建議服飾的相片。若未能拍到實際服飾的相片,則會提供款式類似的圖片,以作參考。

Make Up Reference: 化妝形象會以圖片作參考

Hair Reference: 髮型亦會以圖片作參考

Music Reference: 若非直接購買歌曲版權,創作人員便會提供背景音樂參考

V/O Talent: 創作人員會提供旁白或演員配音的候選配音員聲帶

Production Schedule: 製作進度時間表

一些製作甚至會開幾次PPM,大家在電視上看到的廣告片,其實經過很多人的努力才出街的!


2009年11月13日

Brand Building: Brand Promise

找尋卓越品牌和作出品牌承諾

要塑造品牌,首先要確定自己的價值觀(values)和你的「顧客」的價值觀,把你的價值觀融入你的工作和個人的生活中,使之與你的「顧客」的價值觀建立內在關係, 確立你的品牌基石。 要能達此, 你就必須尋找出你的工作的深層意義,並以之突顯於「顧客」眼前,以奪取其心。作者倆以美國幾家有名的機構如何表達其產品的深層意義,以來闡揚其價值觀:

  • 以製造心臟起搏器(heart pacemaker)聞名的美國醫迪電子公司(Meditronic)的員工認為,該公司的業務意義在當有需要的時候,使醫療技術成為生命的支柱。

  • FedEx的工作核心不在分類包裹,而在確保某人一定能及時地收到他急需的東西

  • 美國鋁業公司(Alcoa)的業務宗旨不在搞金屬生意,而在開發一種材料,幫助人們提高其生活素質。

了解品牌任務的深層意義,對維繫個人在品牌營造和管理的決心有重大的影響。 以地政工作中的「丁屋」審核工作為例,若地政主任認為審核丁屋的工作,是為了履行政府的承諾、原居民在憲法上的權利、維持中國鄉村傳統、解決原居民的房屋要求… 等等,他們就不會認為「丁屋」制度是不公義的制度,那麼,他們在該方面的績效就一定大大地改善。


有效的品牌,一定是令人們感覺到是「貨真價實」的。 這樣,「品牌主」就有需要作出一定的品牌承諾,並要確保其履行,乃至使人們對它記掛、信任、覺到有持續的需要,甚至感到它不可或缺、價值非凡!

個人品牌承諾,是一種聲明,用來對自己強調,自己在品牌方面的努力必須能滿足「顧客」各種的需要,說明你想如何用自己的決定和行為來有力地影響他人。 闡明品牌承諾可幫助你集中精力,努力滿足他人的各種需要。

應在此強調品牌承諾,只應是一簡短的聲明,把個人目標和品牌承諾的內容,使之濃縮到數個(英語)詞中。 能做到這樣的話,人們就能聚焦地體會到承諾的內容,並因此而可彰顯出「品牌主」對維持實現承諾的決心,使人印象深刻。 美國聯邦快遞的“An unrelenting commitment to deliver” (「不屈不撓的遞送承諾」)、Jeannie Seeley-Smith的“The insight to guide, the compassion to inspire” (「以洞察力作指導,以同情心為啟示」)、和 James Scothorn 的 “Do it right for the right reasons” (「理由正確,就將它做好」), … 都是經典之作。

個人品牌承諾不僅成為「品牌主」的方向指導,也是其品牌素質標準的保證,更是驅使「品牌主」朝向成功的「圖騰」。 當「品牌主」在某些時候心存疑慮或猶豫不決時,望著該「圖騰」就可掃除一切疑慮或阻礙,邁步向前!

Brand Building: What is a brand?

當為品牌

無論如何,在該「戰役」中,品牌發揮了很大的作用。 我的「煞星」品牌是黃先生和陳先生聯合的製作。 那麼,個人可否為自己建立個人品牌呢? 答案可在 David McNallyKarl D. Speak 合著的《當為品牌》(Be Your Own Brand, A Breakthrough Formula for Standing Out from the Crowd) 找到。 在該書中,作者倆不僅說明什麼是品牌? 其功用有多大? 還極詳細地闡釋個人如何可找到(identify)適應自己使用的品牌、如何為自己的品牌定位、打造的方法、管理品牌的策略、確保品牌長青的秘訣等,是一本理論與實踐兼備的企管書。 該書全書只有148頁,是一本行文流暢、組織嚴謹、說理清楚且「短小精悍」的書籍。

一般人在說到品牌時,特別在說到「品牌建設」(branding, brand-making, brand building, or brand development)時,都會認為品牌或品牌建設,只是一些商業性活動,是一些商人,為了推動商品銷售而弄出一套又一套的「把戲」或「綽頭」,是一種企業的營商活動。 然而,David McNally 和 Karl D. Speak倆卻認為,「品牌建設」不僅是商業行為,也可是個人的行為

他倆在其著作《當為品牌》(Be Your Own Brand, A Breakthrough Formula for Standing Out from the Crowd)中指出,企業通過塑造傑出品牌推廣其產品的銷路,個人也可採用類似的方式,宣揚其優異的能力,為其創造條件,以走上成功之路。

不過,筆者應在此作出「警告」:塑造個人品牌,並不是叫人弄虛作假、大吹牛皮。 事實上,擁有優秀個人品牌的人,總是能夠忠於其個人的價值觀,貫徹自我的承諾,以贏得人們的信任、信賴和認可。 信譽昭著的品牌商品,一定是貨真價實;名望高企、眾人信服的個人,一定是忠於自我,以誠待人的人。 事實上,筆者在「北區」一役中,並不僅以「煞星牌」為號召,若真技只到此,那失敗還是必然的。 筆者一向堅信,忠於專業、以誠處事,才是成功的不二法門。 真正的品牌,還是需要忠誠、堅毅和具備高度專業的能力才可達致的。 《當為品牌》作者倆也作出這樣的主張,說個人對成功的定義,只能由個人來決定。 而建立出色品牌不僅要對他人是真誠的,且對自己也是真誠的。

以弄虛作假的手法而塑造出來的東西,即有一時之機會而成為品牌,也不會維持得很久。David McNally 和 Karl D. Speak倆指出,一致性(Consistent) 是個人品牌構成的基本元素:人們之所以會相信某種關係,是因為他們體會或觀察到的行為具有某種一致性。 而個人品牌,就是這樣的一種關係 (relationship)。

說了品牌老半天,那什麼是品牌呢?

《當為品牌》的作者指出,「品牌是一種關係,而不是一種聲明。品牌不是人為設計的形象,或者絢麗的包裝、時髦的口號,或者以虛飾掩蓋真實本質。 實際上,「品牌化」關係是一種特殊類型的關係 …. 只有… 人們相信他們的價值關係存在直接聯繫時,這種關係才會出現。」 據此可說,品牌,無論是商品品牌還是個人品牌,都只有在「貨真價實」的情況下,才能維持得久遠。 要成功,就必須使人覺到你的真誠。

名魔幻小?作家Terry Goodkind 在其成名小?《真理之劍: 巫師第一守則》中,就借大巫師柴德 之口說 ,魔法和事實並不相干,但卻和感覺血肉相連。 因為,沒有感覺的力量就沒有魔法。 魔法的力量只在強大的感覺力下才能發揮出來。 書中的男、女主角只能在有強烈的感的情況下,其魔法能力才能發揮出來。

對顧客來說,品牌也是一種魔法,感覺是最重要的。 若人們對某品牌沒有感覺,那品牌對他們就沒有相干,那麼,對他們來說,個人品牌就沒有力量可言。 個人要其品牌發揮力量,就必須先把其品牌印記在他人的腦海中,並要使這印記帶著某種鍾愛的感覺。而這種感覺,就只能建基於人們和你交往的體驗和由此而建立的關係。 簡明地來說「....品牌是他人持有的一種印象或情感,描述了與你建立某種關係時的全部體驗。」 對此, 《當為品牌》的兩作者強調,「當你能夠在他人腦海中留下揮之不去的印記,那你就已經有了一個強而有力的個人品牌了。」 他們還進一步點明,「你怎樣想不重要,重要的是別人怎麼想。」 最後一句,應為所有企管人再三玩味。

有效的品牌,是指得顧客的信任、忠心和依賴。 有效的品牌都結合了以下三種特性: (1) 顯要性(Distinctive); (2)相關性(Relevant); (3) 一致性(Consistent)

(1) 顯要性 (Distinctive)

它們代表某種東西,有自己的觀點。顯要性並不僅僅把自己做到與眾不同。 打造品牌並不同於美化形象,不是要將你自己把自己推銷給別人。 塑造品牌就是要理解他人的需要,願意滿足他人的需要,並且是在自己的價值體系內能夠滿足他人的需要。

(2) 相關性 (Relevant)

它們代表的東西能與他人認為重要的東西聯繫起來。

(3) 一致性 (Consistent)

人們之所以會相信某種關係,是因為他們體會或觀察到的行為具有某種一致性。 確定品牌宣言、闡明品牌承諾,只是為塑造品牌奠下基礎。 要確保成功,還須以系統的方法做到:(1) 和有關的重要人物建立確實的顯要性、相關性、一致性的關係; (2) 你的作為成果得到每一相關人物的重視。 從這兩方面的回饋可以幫助你進行進一步的目標確認、策略改善、行為管理 。 一致性對你和他人兩方都有重大的意義。 如果你不能保持一貫性,人們就不會覺得理解你的為人或行事方式。 這些人們當然也會包括非常親近你或你認為應該了解你的人。 如果人們不能指望你言行一致,如果人們在正常情況下也不能確定的的做法,那麼,在形勢危急時,那你一再重申你的承諾或言詞如何動聽,他也無法取得他們的信任。

品牌的三項特性顯要性(Distinctive)、相關性(Relevant)、一致性(Consistent)是結合在一起的,其所要發揮的作用,就在持續地吸引人們的注意和對其有強烈需要的感覺,對其信任、需求和依賴。 作者倆強調,要取得人們的信任,言行一致、言出必行是重要的:「如你言行不一致,人們就會對你的承諾大打折扣。如果你能言行一致,履行許下的承諾,人們就會信任你、看重你,並在以後倚重你,你的品牌就會成為他們眼中有價值的東西。」

在現實生活中,你的品牌形象就是存於他人的腦海中的印象。 通過你與他的不斷接觸,這種印象就會演化並加深,品牌關係就會成形。永遠要記著,品牌的有效與否,在乎「顧客」對它的感覺。作者倆一再指出,感覺是信任的關係 (what other people feel about you is the rungs on the ladder of building relationship for your brand) ,就是這個道理。 因此,你應牢記於心:營造和維護品牌最重要的一課是:品牌的內容固然重要,讓「顧客」感覺到你的品牌的「貨真價實」更為重要。


2009年11月12日

Guerrilla marketing

The concept of guerrilla marketing was invented as an unconventional system of promotionsthat relies on time, energy and imagination rather than a big marketing budget. Typically, guerrilla marketing campaigns are unexpected and unconventional; potentially interactive; and consumers are targeted in unexpected places. The objective of guerrilla marketing is to create a unique, engaging and thought-provoking concept to generate buzz, and consequently turn viral. The term was coined and defined by Jay Conrad Levinson in his book Guerrilla Marketing. The term has since entered the popular vocabulary and marketing textbooks.

Guerrilla marketing involves unusual approaches such as intercept encounters in public places, street giveaways of products, PR stunts, any unconventional marketing intended to get maximum results from minimal resources. More innovative approaches to Guerrilla marketing now utilize cutting edge mobile digital technologies to really engage the consumer and create a memorablebrand experience.


Levinson's books include hundreds of "guerrilla marketing weapons," but they also encourage guerrilla marketeers to be creative and devise their own unconventional methods of promotion. A guerrilla marketeer uses all of his or her contacts, both professional and personal, and examines his company and its products, looking for sources of publicity. Many forms of publicity can be very inexpensive, others are free.

Levinson says that when implementing guerrilla marketing tactics, small size is actually an advantage instead of a disadvantage. Small organizations and entrepreneurs are able to obtain publicity more easily than large companies as they are closer to their customers and considerably more agile.

Yet ultimately, according to Levinson, the Guerrilla Marketeer must "deliver the goods". In The Guerrilla Marketing Handbook, he states: "In order to sell a product or a service, a company must establish a relationship with the customer. It must build trust and support. It must understand the customer's needs, and it must provide a product that delivers the promised benefits."

Levinson identifies the following principles as the foundation of guerrilla marketing:

  • Guerrilla Marketing is specifically geared for the small business and entrepreneur.
  • It should be based on human psychology instead of experience, judgment, and guesswork.
  • Instead of money, the primary investments of marketing should be time, energy, and imagination.
  • The primary statistic to measure your business is the amount of profits, not sales.
  • The marketer should also concentrate on how many new relationships are made each month.
  • Create a standard of excellence with an acute focus instead of trying to diversify by offering too many diverse products and services.
  • Instead of concentrating on getting new customers, aim for more referrals, more transactions with existing customers, and larger transactions.
  • Forget about the competition and concentrate more on cooperating with other businesses.
  • Guerrilla Marketers should always use a combination of marketing methods for a campaign.
  • Use current technology as a tool to empower your business.

2009年11月11日

Guerrilla marketing: Window 7

微軟推出Windows 7,是世界性新聞。Windows 7是電腦的操作系統,是一件很複雜的產品。各位marketing同學,若然大家的工作是賣一個橙、一支茶、一部相機,甚至一部車,大家都有個大概如何制定廣告宣傳策略。最基本的方法是做一些資料蒐集,找個獨一無二的賣點。當然,實際操作會比做功課或讀理論複雜得多。

但大家若要賣Windows 7,又想到該怎麼賣嗎?首要做的當然是找一個賣點。就如Nokia推出手機5800時,從一部多功能,多賣點的產品中,選定一個最重要廣告信息,以打造手機的市場定位。Nokia 5800以音樂手機為定位,這是很重要的一步。其他賣點當然也會做宣傳,但也只是從不同的渠道出現,鞏固潛在消費者的購買意欲,這種message prioritization,便是廣告策略。

大家如果有印象,Windows Vista賣的是華麗介面,但卻因為操作不穩定要遭詬病。今次Windows 7反璞歸真,以更簡單、更好用為賣點,希望擺脫Windows Vista的負面形象。宣傳信息訂好了,下一步又怎樣?

Windows 7在香港用了guerrilla marketing的策略,沒有以銀彈在各大廣告媒體大賣廣告,反而配合全球推售的「新聞風」,在鬧市炒件事。Guerrilla marketing一般是用低成本,非主流的推廣手法,吸引消費者注意。Guerrilla marketing從前會配合傳統的PR以擴大效果,近年web 2.0盛行,facebook、YouTube、IM等都有不錯的viral effect,所以被很多marketing人和學者拿來討論,Windows當然也不會放過這個渠道。

Windows 7在鬧市組人牆,找年青人在尖沙咀著Windows 7 tee跳舞,都是guerrilla marketing的手法。日本大城市街頭,不時見到有人扮成mascot通街走,與途人合照;也有些品牌找俊男美女,坐在開蓬名車上手舞足蹈,同樣能引人圍觀。

Windows 7同時知道experiential marketing也很重要,「簡單」與「華麗」不同,華麗很容易visualise,電視和平面廣告都不難做。簡單好用卻不能「得個講字」,因為說服力低,最重要是讓用家親自體會。所以微軟找了近年興起的流動廣告貨車,在launch date造勢,既可停在鬧市讓用家親自體驗,也可配合PR項目,吸引記者報導。這是很重要的一環,尤其是那些沒有自家商店的品牌,都喜歡用這種流動廣告貨車,儼如多了一個零售點(但不能作現金交易)。

流動廣告貨車,除了車身是流動廣告牌,也可以讓消費者上車,親身參與品牌活動或體驗產品。Windows找上廣告貨車是明智之舉,很多大品牌如果汁、手機、隱形眼鏡、快餐店、遊戲機、中醫中藥堂等,都曾用這類廣告貨車,據說部分品牌有不錯的反應,也能刺激銷量。大家在鬧市逛街時,不妨留意一下。


Windows 7 的香港宣傳活動:











以下是外國有關Windows 7的電視廣告:

Windows 7 Commercial: More Happy is Coming



PC vs Mac: Broken Promises


Copywriting: Feature Benefits

One of the most repeated rules of compelling copy is to stress benefits, not features. In other words, identify the underlying benefit that each feature of a product or service provides to the prospect, because that’s what will prompt the purchase.

This is one rule that always applies, except when it doesn’t. We’ll look at the exceptions in a bit.

Fake Benefits

The idea of highlighting benefits over features seems simple. But it’s often tough to do in practice.

Writers often end up with fake benefits instead.

Top copywriter Clayton Makepeace asserts that fake benefits will kill sales copy, so you have to be on the lookout for them in your writing.

That sounds pretty beneficial, doesn’t it? In reality, there’s not a single real benefit in the headline.

True Benefits

Makepeace advises to apply his patented “forehead slap” test to see if your copy truly contains a benefit to the reader. In other words, have you ever woken up from a deep sleep, slapped yourself in the forehead, and exclaimed “Man… I need to balance my blood sugar levels naturally!”

I think not. So getting someone to pull out their wallet to buy that so-called “benefit” will be difficult at best.

Here’s how Makepeace identifies the real benefit hidden in that headline:

Nobody really wants to balance their blood sugar levels. But anyone in his or her right mind DOES want to avoid the misery of blindness … cold, numb, painful limbs … amputation … and premature death that go along with diabetes.

A high risk person will want to avoid the terrible effects of diabetes. That is the true benefit that the example product offers.

How to Extract True Benefits

So, how do you successfully extract true benefits from features? Here’s a four-step process that works:

  • First, make a list of every feature of your product or service.
  • Second, ask yourself why each feature is included in the first place.
  • Third, take the “why” and ask “how” does this connect with the prospect’s desires?
  • Fourth, get to the absolute root of what’s in it for the prospect at an emotional level.

Let’s look at a product feature for a fictional RSS Feed Reader:

Feature:

“Contains an artificial intelligence algorithm.”

Why it’s there:

“Adds greater utility by adapting and customizing the user’s information experience.”

What’s in it for them:

“Keeps the things you read the most at the forefront when you’re in a hurry.”

Emotional Root:

“Stay up to date on the things that add value to your life and career, without getting stressed out from information overload.”

Getting to the emotional root is crucial for effective consumer sales. But what about business prospects?

When Features Work

When selling to business or highly technical people, features alone can sometimes do the trick. Pandering to emotions will only annoy them. Besides, unlike consumers (who mostly “want” things rather than “need” them), business and tech buyers often truly need a solution to a problem or a tool to complete a task. When a feature is fairly well known and expected from your audience, you don’t need to sell it.

However, with innovative features, you still need to move the prospect down the four-step path. While the phrase “contains an artificial intelligence algorithm” may be enough to get the Slashdotreader salivating, he’ll still want to know how it works and what it does for him. The What’s in it for me? aspect remains crucial.

For business buyers, you’re stressing “bottom line” benefits from innovative features. If you can demonstrate that the prospect will be a hero because your CRM product will save her company $120,000 a year compared to the current choice, you’ve got a good shot.

While that may seem like a no-brainer purchase to you, you’ll still need to strongly support the promised benefit with a detailed explanation of how the features actually deliver. Remember, change scares the business buyer, because it’s their job or small business on the line if the product disappoints.

Sell With Benefits, Support With Features

We’re not as logical as we’d like to think we are. Most of our decisions are based on deep-rooted emotional motivations, which we then justify with logical processes. So, first help the right brain create desire, then satisfy the left brain with features and hard data so that the wallet actually emerges.

2009年11月10日

Eat East: Questionaire

Competitor

1. 你有無食過微波爐食品?

2. 你食過咩類型既微波爐食品?
A. 叮叮粉麵飯 B.叮叮點心 C.叮叮小食(碗仔翅, 魚蛋…….)
D. 叮叮甜品 E. 其他 ……………………

3. 你最鐘意食以上哪種微波爐食品?
A. 叮叮粉麵飯 B.叮叮點心 C.叮叮小食(碗仔翅, 魚蛋…….)
D. 叮叮甜品 E. 其他……………………

4. 你鐘意食邊個牌子既微波爐食品
A. 淘大 B.
美心 C. E D. 波仔
E. 龍鳳茶樓 F. 公仔 G. 其他

5. 你肚餓的時候, 會選擇哪種食品?

A. 叮叮食品 B.即食麵 C.乾糧(餅乾,麵包…)
D. 零食 E. 其他……………………

About 波仔

1. 有無聽過/食過波仔?

2. 你從咩途徑知道有波仔?
A. 朋友/家人講 B. 超市見到 C. 廣告 D. 其它………….

3. 覺得波仔宣傳夠唔夠?

4. 知唔知佢有專門店?

5. 覺得佢既價錢如何?
A. 超平! B. 平平地... C. 適中 D. 有點貴 E. 超貴!

6. 覺得佢既味道如何?
☆☆☆☆☆☆☆☆☆ (10粒星星滿分請填色)

7. 整體而言, 你覺得波仔邊樣野最吸引?
A. 價錢 B. 味道 C. 品質 D. 款式 (選擇多) E. 賣相

2009年11月9日

Eat East: 三隻小豬



從前,有三隻快樂的胖小豬與豬媽媽生活在一起。
有一天,豬媽媽對三隻小豬說:「小寶寶們!你們都已經長大了,媽媽希望你們能各自去建造自己的家園了。」
三隻小豬都很有精神的回答:「是的!媽媽。」
首先,要建設房屋。怎樣的房屋才是好的呢?第一隻小豬認為:「如果建造一間稻草房子,不是容易而且溫暖的嗎?」於是他收集了很多稻草,立刻著手建造房子。
稻草房屋很快就蓋好了。
這時候,有一隻可怕的大野狼來到了剛好的稻草屋前:「真是座好房屋呢,讓我進來坐坐好嗎?」
「不行,我討厭你!」小豬心裡想如果被野狼進來了,我一定會被他吃掉。
「唷!你好大的膽子;好吧!你這用稻草做的房子,看我用一口氣就能吹倒它!」
「噗!」胖小豬的稻草房子被吹得搖來搖去,不一會兒,就被野狼輕輕鬆鬆的給吹垮了。因此,第一隻小豬也就被野狼給吃掉了。
第二隻小豬是用樹枝作材料,來建造房子的。並且說:「用樹枝做成的房子也是很容易呀!你看,已經完成了。」
不久,大野狼也來到第二隻小豬所建造的木頭房屋前「真是一間好房屋啊!讓我進企參觀好嗎?」
當第二隻小豬拒絕讓野狼進企時,野狼就很生氣的「噗!噗!」地用力吹氣,而這間木頭房屋也被野狼輕鬆地吹得七零八落;當然,第二隻小豬也被野狼吃掉了。
第三隻胖小豬是用磚瓦做材料,來建造房屋的,由於磚塊很重,所以搬運起來相當的辛苦。
小豬每天都很辛勤的工作,磚塊一塊接一塊的堆砌起來。
「好了,好了!」
勤勞的小豬,終於建造出一間既漂亮又堅固的磚塊房屋了。
「嘩!好漂亮的房子呀!讓我進去好嗎?」野狼來到磚塊房子前,又想吃第三隻小豬。
「你快走開,我不歡迎你。」當小豬拒絕後,野狼就很生氣的「噗地,噗地!」用力吹氣,由於這間房子十分堅固;因此,野狼再怎麼用力吹,房子仍然不會動搖。
後來,野狼就想把小豬從家裡騙出來,他對小豬說:「小豬啊!我知道有一個地方長出了許多好吃的菜呢。」
「哦,在那裏,在田裡嗎?」
「就在空地的對面,明天早上六點鐘我們去摘吧!」
隔上五點不到小豬就起床,把菜都摘回來了。
六點一到,當野狼來到小豬屋前,小豬若無其事的說:「狼先生啊!剛才我已經把菜都摘回來了呢!請原諒吧!」沒辦法,野狼只好再一次地向小豬勸誘說:「我還知道有很多好吃的蘋果呢。」
「蘋果樹在那裡啊!」小豬問。
「在山丘上,明天早上五點鐘我們去摘吧!」
隔天早上,小豬四點鐘就出門了。由於路途遙遠,而且要爬樹,所以耽誤了不少時間,因此,當小豬在採蘋果的時候,野狼也到了。
小豬就對野狼說:「狼先生!請接好這些蘋果。」於是小豬儘可能地將蘋果丟得遠遠的。
小豬就利用野狼在撿蘋果的這段空擋,趕緊溜回家去了。
第二天野狼又來了,他說:「從昨天開始,街上就在進行大拍賣,這次我們一塊去吧!」
這次小豬還是比約定的時間還要早,就到了街上,而且還買了一個由黃柚木所製成的木桶。
這時候,大野狼又出現了。
「啊!糟了,該怎麼辦呢?」小豬就趕緊躲進木桶內,又正好是下坡,所以這木桶就以野桶為目標,「咕嚕、咕嚕!」地滾了下去。
野狼大吃一驚:「哎呀,這木桶怎在追我啊!」小豬就這樣死命的逃回家去了。
不久,野狼去到了小豬家,對小豬說了木桶的事,小豬反而笑著說:「哈哈!你真笨,那是我躲在桶子裏呀。」
「哼!你敢愚弄我,我絕不饒你。」野狼仍然無法進入小豬的磚塊房屋;後來,野狼發現了煙囪。「有辦法了,從這裡就可以進去了。」
「哎呀!不得了,該怎麼辦?」
於是小豬就將裝滿水的大鍋子放在壁爐裡面,然後將火熊熊地燃燒起來。不知情的野狼仍然由煙囪下來,掉落在鍋子中,這時小豬趕緊用蓋子將鍋子蓋住,而呼嚕呼嚕地燒起火來了。
聰明的小豬終於除掉大野狼,過著快樂的日子。