IMC Plan-Bingo_Group N

Bingo Crunchy Test : A Soda Films Production

Bingo Chips Mad Angles funny ADS

Bingo Railway Station Ad

Bingo! Sales Presentation

Bingo! from Manavendra Roy Choudhury

Fair and Handsome advertiment

Encoding

The sender, or source, of a communication is the person or organization that has information to share with another person or group of people. The source here is celebrity, who appears in a company’s advertisements. Here, Shahrukh Khan appears as a spokesperson for the company.

Because the receiver’s perceptions of the source influence how the communication is received, marketers must be careful to select a communicator the receiver believes is knowledgeable and trustworthy or with
whom the receiver can identify or relate in some manner. Here the spokesperson, Shahrukh Khan, has a large mass following and enjoys the trust and confidence of many.

The communication process begins when the source selects words, symbols, pictures, and the like, to represent the message that will be delivered to the receiver(s). This process, known as encoding, involves putting thoughts, ideas, or information into a symbolic form. The sender’s goal is to encode the message in such a way that it will be understood by the receiver. This means using words, signs, or symbols that are
familiar to the target audience. Here in this advertisement  Indian male is being shown using fairness cream of women to turn faired which rings a bell with men who want to grow fairer.

Decoding

The receiver is the person(s) with whom the sender shares thoughts or information. Generally, receivers are the consumers in the target market or audience who read, hear, and/or see the marketer’s message and decode it. Decoding is the process of transforming the sender’s message back into thought. This

process is heavily influenced by the receiver’s frame of reference or field of experience, which refers to the experiences, perceptions, attitudes, and values he or she brings to the communication situation.

For effective communication to occur, the message decoding process of the receiver must match the encoding of the sender. This advertisement takes good care of the fact that what is the problem they are providing solution for and depict it well. Receiver will be able to correctly understand what the speaker is trying to tell.

Chapter 19

This chapter talked about the issues involved in measuring the effects of advertising and promotions. These issues include reasons for testing, reasons companies do not test, and the review and evaluation of various
research methodologies.

And the following conclusions were drawn:
(1) Advertising research to measure effectiveness is important to the promotional program,
(2) Not enough companies test their ads, and
(3) Problems exist with current research methodologies.

In addition some ways were suggested to accomplish effective studies. All marketing managers want to
know how well their promotional programs are working. This information is critical to planning for the next period, since program adjustments and/or maintenance are based on evaluation of current strategies. Problems often result when the measures taken to determine such effects are inaccurate or improperly
used.

Throughout the chapter, we talk about the importance of measuring the effectiveness of the promotional program and the value of measuring their contribution to the program’s success. A number of studies have been implemented to determine the combined effects of two or more media as well as their synergistic impact. Companies as large as Microsoft, spend millions of dollars on communications, or employ large research agencies to measure effectiveness. Heart-wear, a small jewellery manufacturer with almost no advertising budget, relies to a large degree on word of mouth and its Internet site as the primary means of creating awareness and interest in the brand. By tracking visitors to its site, Heart-wear was able to determine the impact of having its product appear in various publications, thus getting an indication of the value of publicity.

In February 2002, Heart-wear page requests ranged from a low of 5 to as high as 726 per day, with an average of 199. In March, the average number dropped. Then the jewellery was shown in various magazines—not as an ad but with someone wearing the product or just with a small print name mention. As can be seen, the appearances in Teen People, YM, and US Weekly significantly increased the number of hits to almost 4,000 each time the jewellery appeared. The actual exposures were minimal but still led to significant
increases in visits, with lower numbers associated with no exposure periods. The August and September spikes were associated with appearances in Victoria’s Secret catalogue mailings, with each increase correlated with the mailing period. Sales figures also correlated highly with the site visits.

The Heart-wear example is just one more indication of the value of measuring the effectiveness of the impact of various IMC elements. Perhaps just as important, it indicates that the excuse of not measuring due to costs has little or no merit.

All the advertising effectiveness measures discussed here have their inherent strengths and weaknesses. They offer the advertiser some information that may be useful in evaluating the effectiveness of promotional efforts. While not all promotional efforts can be evaluated effectively, progress is being made.

This chapter demonstrated that testing must meet a number of criteria (defined by PACT) to be successful. These evaluations should occur both before and after the campaigns are implemented. A variety of research methods were discussed. Many companies have developed their own testing systems. There has been an
increase in testing through the Internet. Single-source research data were discussed. These single source systems offer strong potential for improving the effectiveness of ad measures in the future, since commercial
exposures and reactions may be correlated to actual purchase behaviours.

It is important to recognize that different measures of effectiveness may lead to different results. Depending
on the criteria used, one measure may show that an ad or promotion is effective while another states that it is not. This is why clearly defined objectives and the use of multiple measures are critical to determining the true
effects of an IMC program.

Media, Planning and Strategy

Internet and Interactive Media

                       

Analyzing a Bingo Advertisement based on Hierarchy of Effects Model of Communication

Awareness:
If most of the target audience is unaware of the object, the communicator’s task is to build awareness, perhaps just name recognition, with simple messages repeating the product name. Thus, the brand name needs to be made focal to get consumers to become aware. The advertisement repeatedly mentions bingo ‘tede mere’ thus repeatedly referring the name of the brand. This will make consumers aware of the name of the brand in the mind of the consumers.

Knowledge:
This is the stage where comprehension of the brand name and what it stands for become important. The advertisement attempts to increase the knowledge of customers by referring to the shape of the bingo snacks. It suggests in the end that no bingo ‘tede mede’ is same and every one of the chips has unique taste and shape. Hence, this advertisement is quite clear in terms of creating brand knowledge and message of the brand.

Liking:
The advertisement seems to be instant likeable due to communication of the message in funny situation. The missing child though found, cannot be verified as same as original, since bingo chips in the original picture are not same as in the new one. This creates instant linking for the brand.

Preference:
The advertisement suggests that bingo chips are unique. It therefore could also be inferred that it should be preferred over other chips.  In this case, the communicator is trying to build consumer preference by promoting uniqueness of the product.  The communicator can check the campaigns success by measuring audience preference before and after the campaign.

Conviction:
The advertisement clearly communicates its message of being different from its competitors. It is quite convincing and can develop conviction for buying.

Purchase:
‘Har stick me alag twist’ develops a curiosity among the buyer regarding ‘alag twist’ or different flavor. A customer after being convinced to buy is very likely to make the purchase decision. Advertising cannot induce immediate behavioral response, rather a series of mental effects must occur with the fulfillment at each stage before progress to the next stage is possible.

Creative Strategy: Planning and Development

Advertising creativity is the ability to generate fresh, unique, and appropriate ideas that can be used as solutions to communications problems. It is important for ads to be appropriate and effective. A creative idea must be relevant to the target market. A lot of advertisement agencies understand how important is to develop creative and different ad campaign that communicates relevant information.

The Creative Challenge

The job of the creative team is challenging because each marketing challenge is different and every advertisement campaign may require disparate creative approaches. Numerous guidelines have been suggested for creating effective advertising, yet there is not one great way of doing it. As copywriter Hank Sneiden notes in his book Advertising Pure and Simple: ‘Rules lead to dull stereotyped advertising, and they stifle creativity, inspiration, initiative, and progress. The only hard and fast rule that I know of in advertising is that there are no rules. No formulas. No right way. Given the same problem, a dozen creative talents would solve it a dozen different ways. If there were a sure-fire formula for successful advertising, everyone would use it. Then there’d be no need for creative people. We would simply program robots to create our ads and commercials and they’d sell loads of product—to other robots’

The Creative Process

Young’s model of the creative process contains five steps:

1.       Immersion: Gathering raw material and information through background research and immersing yourself in the problem.

2.       Digestion: Taking the information, working it over, and wrestling with it in the mind.

3.       Incubation:  Putting the problems out of your conscious mind and turning the information over to the subconscious to do the work.

4.       Illumination: The birth of an idea—the “Eureka! I have it!” phenomenon.

5.       Reality or verification:  Studying the idea to see if it still looks good or solves the problem; then shaping the idea to practical usefulness.

Young’s process of creativity is similar to a four-step approach outlined much earlier by English sociologist Graham Wallas:

1.       Preparation:  Gathering background information needed to solve the problem through research and study

2.       Incubation:  Getting away and letting ideas develop

3.       Illumination:  Seeing the light or solution

4.       Verification: Refining and polishing the idea and seeing if it is an appropriate solution.

Account Planning

Most of the agencies now use account planning, which is a process that involves conducting research and gathering all relevant information about a client’s product or service, brand, and consumers in the target audience.

Inputs to the Creative Process: Preparation, Incubation, Illumination

Background Research

The creative specialist should understand and research about about general trends, conditions, and developments in the marketplace, as well as on specific advertising approaches or techniques that might be effective.

Product/Service-Specific Research

This is done using studies conducted on the product or service, the target audience, or a combination of the two. Quantitative and qualitative consumer research such as attitude studies, market structure and positioning studies such as perceptual mapping and lifestyle research, focus group interviews, and demographic and psychographic profiles of users of a particular product, service, or brand are examples of product-specific preplanning input.

Qualitative Research Input

Various quantitative research studies and qualitative research techniques such as in-depth interviews or focus groups can provide the creative team with valuable insight at the early stages of the creative process. Focus groups are a valuable research tool whereby consumers from the target market are led through a discussion. They tell us why and how consumers use a product or service, what is important to them in choosing a particular brand, what they like and don’t like about various products or services.

The California Milk Processor Board has used both quantitative and qualitative research in developing the popular “Got milk?” advertising campaign. Focus groups and survey research studies were conducted to help understand companion foods that are consumed with milk and how consumers react to the effect of “milk deprivation,” which is the key idea behind the humorous ads in the campaign

Research helped in the development of the popular “got milk?” campaign

Inputs to the Creative Process: Verification, Revision

This evaluates ideas generated during the illumination stage, rejects inappropriate ones, refines and polishes those that remain, and gives them final expression. Techniques used at this stage include directed focus groups to evaluate creative concepts, ideas, or themes.

Creative Strategy Development

Advertising Campaigns

Most ads are part of a series of messages that make up advertising campaign, which is a set of interrelated and coordinated marketing communication activities that center on a single theme. Determining the unifying theme around which the campaign will be built is an important part of the creative process, as it sets the tone for the individual ads and other forms of marketing communications that will be used. A campaign theme should be a strong idea, as it is the central message that will be communicated in all the advertising and other promotional activities

Copy Platform

The written copy platform specifies the basic elements of the creative strategy. Different agencies may call this document a creative platform or work plan, creative brief, creative blueprint, or creative contract.

Basic outline could be:

1.             Basic problem or issue the advertising must address

2.             Advertising and communications objectives

3.             Target audience

4.             Major selling idea or key benefits to communicate

5.             Creative strategy statement (campaign theme, appeal, and execution technique to be used)

6.             Supporting information and requirements

The Search for the Major Selling Idea

One of the most important parts of creative strategy is determining the major selling idea of the ad campaign. As A. Jerome Jeweler states in his book Creative Strategy in Advertising: The major selling idea should emerge as the strongest singular thing you can say about your product or service. This should be the claim with the broadest and most meaningful appeal to your target audience. Once you determine this message, be certain you can live with it; be sure it stands strong enough to remain the central issue in every ad and commercial in the campaign.

The major selling idea behind this Polaroid commercial is that the picture is only the beginning of the story

Some of the best-known approaches that can guide the creative team’s search for a major selling idea are:

1.             Using a unique selling proposition

The concept of the unique selling proposition (USP) was developed by Rosser Reeves.Reeves noted three characteristics of unique selling propositions:

•        Each advertisement must make a proposition to the consumer. Not just words, not just product puffery, not just show-window advertising. Each advertisement must say to each reader: “Buy this product and you will get this benefit.”
•        The proposition must be one that the competition either cannot or does not offer. It must be unique either in the brand or in the claim.
•         The proposition must be strong enough to move the mass millions, that is, pull over new customers to your brand

2.             Creating a brand image

In many product and service categories, competing brands are so similar that it is very difficult to find a unique attribute to use as the major selling idea. The creative strategy used to sell these products is based on the development of a strong, memorable identity for the brand through image advertising

3.             Finding the inherent drama

Another approach is finding the inherent drama or characteristic of the product that makes the consumer purchase it. The inherent drama approach expresses the advertising philosophy of Leo Burnett, founder of the Leo Burnett agency in Chicago. Burnett said inherent-drama “is often hard to find but it is always there, and once found it is the most interesting and believable of all advertising appeals.”

4.             Positioning

The basic idea is that advertising is used to establish or “position” the product or service in a particular place in the consumer’s mind. Positioning is done for companies as well as for brands.