Saturday, 20 December 2008
Friday, 19 December 2008
Analysis of similar adverts
Title of Ad: No artificial colours or flavours
Company: Robinsons
Product: Orange squash
Form/Style
Animation/ Slice of life
Textual Analysis
-The entire advert was a mid shot
-There was no transitions used during the advert as it was short, the advert focused on a bee flying around therefore the camera just tracked the bee.
-There was a variety of colours to attract the children
-The orange drink signifies the flavour of the squash is orange.
-During the first part of the advert everything is artificial and fake, for example the dog is blue, the bee is purple and the eagle is purple, this is unrealistic and artificial however, the last part of the ad are natural colours. For example the bird is brown the tree is green, therefore connoting the squash is also natural and not containing artificial colouring or flavouring.
-Voice over of a man informing the audience of the productSoundtrack is catchy and non diegetic signifying the drink will be fun and energetic to drink
Key Concepts
-The advert is targeted at young children as the protagonist of the advert is a young boy. -Furthermore the advert is also targeted at mums as they will be buying the product for their child as it is now fresh and healthy.
-The representation of squash is positive and fresh portrayed through the realistic colours of objects towards the end of the advert.
-The ideology of this advert is that the orange squash is good for children as it doesn’t include artificial flavours or colouring.
Title of Ad: So Seedy
Company: McVities
Product: Chocolate digestive biscuits
Form/Style
Animation/ Slice of life
Textual Analysis
-A mixture of zooms and cut transitions
-Close up of seeds to signify the new seedy digestive
-The dancing and singing about becoming a chocolate digestive connotes the excitement of one and how great they are.
-The advert is set in a wheat field to represent the amount of seeds that will be in the seedy digestive
-The narrative is a conversation between two seeds about being in a chocolate digestive
-There is no soundtrack as the advert fully concentrates on the conversation. The voice over of the woman explains the new seedy digestive biscuit.
-The packaging in which the digestives come in is showed at the end of the advert to remind the audience what it looks like.
Key Concepts
-The advert is aimed at people who enjoy chocolate biscuits.
-The brand McVities it shown throughout the advert to allow the audience to relate to previous adverts containing digestive biscuits.
-The unique selling point is that it is exciting and great to eat the biscuits and the main character of the advert is full of energy and happy representing a digestive biscuit.
Title of Ad: That Friday feeling
Company: Cadbury
Product: Crunchie
Form/Style
Animation/ Slice of life
Textual Analysis
-The advert is full of cut transitions to add pace to the advert which is similar to the action as it is quick and fast.
-In addition to this, the advert switches between mid shots and close ups to allow the audience to engage with the characters.
-The soundtrack is non diegetic with a fast pace to match the action, as the music is fun and exciting it is also similar to the action. The lyrics also represent the product as “I’m so excited and I just can’t hide it” reflects that people are excited about crunchie. The rollercoaster signifies the fun the characters are having similarly to what the consumer will have if they eat the crunchie.
-The set is made out of chocolate signifying how chocolaty the crunchie bar is.The gold and brown signify the colour of the chocolate and honeycomb on a crunchie.
Key Concepts
-The unique selling point of this crunchie is that it is exciting and gives you that Friday feeling.
-The advert targets chocolate lovers, and people who are outgoing and want to have fun.The representation of the chocolate bar is positive.
Company: Robinsons
Product: Orange squash
Form/Style
Animation/ Slice of life
Textual Analysis
-The entire advert was a mid shot
-There was no transitions used during the advert as it was short, the advert focused on a bee flying around therefore the camera just tracked the bee.
-There was a variety of colours to attract the children
-The orange drink signifies the flavour of the squash is orange.
-During the first part of the advert everything is artificial and fake, for example the dog is blue, the bee is purple and the eagle is purple, this is unrealistic and artificial however, the last part of the ad are natural colours. For example the bird is brown the tree is green, therefore connoting the squash is also natural and not containing artificial colouring or flavouring.
-Voice over of a man informing the audience of the productSoundtrack is catchy and non diegetic signifying the drink will be fun and energetic to drink
Key Concepts
-The advert is targeted at young children as the protagonist of the advert is a young boy. -Furthermore the advert is also targeted at mums as they will be buying the product for their child as it is now fresh and healthy.
-The representation of squash is positive and fresh portrayed through the realistic colours of objects towards the end of the advert.
-The ideology of this advert is that the orange squash is good for children as it doesn’t include artificial flavours or colouring.
Title of Ad: So Seedy
Company: McVities
Product: Chocolate digestive biscuits
Form/Style
Animation/ Slice of life
Textual Analysis
-A mixture of zooms and cut transitions
-Close up of seeds to signify the new seedy digestive
-The dancing and singing about becoming a chocolate digestive connotes the excitement of one and how great they are.
-The advert is set in a wheat field to represent the amount of seeds that will be in the seedy digestive
-The narrative is a conversation between two seeds about being in a chocolate digestive
-There is no soundtrack as the advert fully concentrates on the conversation. The voice over of the woman explains the new seedy digestive biscuit.
-The packaging in which the digestives come in is showed at the end of the advert to remind the audience what it looks like.
Key Concepts
-The advert is aimed at people who enjoy chocolate biscuits.
-The brand McVities it shown throughout the advert to allow the audience to relate to previous adverts containing digestive biscuits.
-The unique selling point is that it is exciting and great to eat the biscuits and the main character of the advert is full of energy and happy representing a digestive biscuit.
Title of Ad: That Friday feeling
Company: Cadbury
Product: Crunchie
Form/Style
Animation/ Slice of life
Textual Analysis
-The advert is full of cut transitions to add pace to the advert which is similar to the action as it is quick and fast.
-In addition to this, the advert switches between mid shots and close ups to allow the audience to engage with the characters.
-The soundtrack is non diegetic with a fast pace to match the action, as the music is fun and exciting it is also similar to the action. The lyrics also represent the product as “I’m so excited and I just can’t hide it” reflects that people are excited about crunchie. The rollercoaster signifies the fun the characters are having similarly to what the consumer will have if they eat the crunchie.
-The set is made out of chocolate signifying how chocolaty the crunchie bar is.The gold and brown signify the colour of the chocolate and honeycomb on a crunchie.
Key Concepts
-The unique selling point of this crunchie is that it is exciting and gives you that Friday feeling.
-The advert targets chocolate lovers, and people who are outgoing and want to have fun.The representation of the chocolate bar is positive.
Research of Advertising
History of Advertising
Advertising ‘agents’ first appeared about 100 years ago, and originally worked for the media, selling advertising space for newspapers and magazines, and receiving commission from publications on the cost of the space sold. This original business then developed along the lines of ‘vertical integration’ - the agents gradually realised that they could work more effectively if they could suggest what went into the advertisement: if they could take the business of printing the advertisements away from the media and do it themselves as far as possible. They then gradually developed additional functions, first employing copywriters, then adding artists to their business, and finally employing a production team to oversee printing methods.
As such advertising ‘agents’ became established, and attracted regular business from advertiser clients, they began to face split in their loyalties, and were forced to choose between selling advertising space for specific publishers, or advising their clients impartially as to the best publications in which to advertise most effectively. They gradually swing to the latter operation, and became creators and advisers rather then salesmen. As the final stage in their development process, they then had to employ people who had experience of the best publications to advertise any particular product in, and who could negotiate with the media about advertising position, price and date of appearance - they then had to add the beginnings of the modern media department to their businesses.
By this point, the advertising ‘agents’ had broken away entirely from their subordinate position as media salesmen, and formed businesses in their own right with direct links to their clients rather than to the media being used. The media, however, continued to grant a certain commission to agencies which they regarded as efficient and financially sound, if they accepted (annually) certain conditions, e.g. promising not to refund any of the media-agency commission to the advertisers in an attempt to lower prices.
Development
Up until the 2nd World War, most advertising agencies, (especially in Britain) were, by modern standards, rudimentary affairs. The most important men were copywriters, who used their instinct and experience to produce copy that would motivate a generally defined group of consumers to buy the product - this copy was then laid out and illustrated if necessary by the artists, with the copy as the guiding principle. Media men, too, placed the ads by experience and instinct, with only circulation figures to guide them, and production men had only to contend with black and white letterpress in limited ranges, one commercial radio station - virtually no cinema opportunities. The whole business, in short, was conducted on an ad hoc basis, with little systematic effort because of a lack of theory and of practical data.
After the war, this situation changed completely with the introduction of the concept of marketing from America, which changed the emphasis in business from what the manufacturer wished to make and this times to sell through marketing (‘product orientation’) to what the consumer wished to buy and wanted to know about through advertising (‘consumer orientation’). This required a whole range of new facts not previously available; facts about consumers (what they wanted, who wanted what, at what price etc); and facts about the distribution of P/S (what was available, where and in what form - retail, wholesale etc). Both media/market research, and companies specialising in this business, quickly developed to meet this need.
The development of the marketing concept changed the role of the advertising agency yet again - instead of restricting itself to producing ads and placing them effectively, it began to look at all the ways in which a clients business could be ‘promoted’. Before thinking about creating an advertisement at all, it began to look at relevant but wider questions -whether the P/S really matched the consumer’s needs, or whether something new is needed; what the differing levels of distribution were, and how media expenditure should be organised to match this etc. Similarly, its creative work became more complex to match these more specialised requirements, as did production to meet new printing/processing techniques.
Finally, as agencies grew in size to cope with all these extra functions, they attached more importance to the post of ‘account manager’, who acted as a co-ordinator for all these activities throughout an agency on one specific ‘account’, and also represented the agency to the client. In the late 50s, with the marketing concept firmly established in advertising for products in similar categories became somewhat repetitive and hard to tell apart. This led to greater emphasis being placed on the individuality and impact of ads in all media. Creativity became the guiding principle of advertising and this lead to a rapid expansion of ‘hot shop’ agencies -
Small business, often no more than 2/3 people, whose only service was a creative solution to a marketing problem presented to them from outside. The end result was a tide of award-winning but largely unintelligible and ineffective ads.
The final stages in this development process were the increase in size amongst many agencies in the late 60s/early 70s through a series of merger and takeover and the diversification of these larger agencies into a wide variety of other fields and specialities - PR services, product development , package design, direct response, recruitment etc. - until they became full service marketing and communications agencies and not just ‘advertising’ agencies.
Advertising ‘agents’ first appeared about 100 years ago, and originally worked for the media, selling advertising space for newspapers and magazines, and receiving commission from publications on the cost of the space sold. This original business then developed along the lines of ‘vertical integration’ - the agents gradually realised that they could work more effectively if they could suggest what went into the advertisement: if they could take the business of printing the advertisements away from the media and do it themselves as far as possible. They then gradually developed additional functions, first employing copywriters, then adding artists to their business, and finally employing a production team to oversee printing methods.
As such advertising ‘agents’ became established, and attracted regular business from advertiser clients, they began to face split in their loyalties, and were forced to choose between selling advertising space for specific publishers, or advising their clients impartially as to the best publications in which to advertise most effectively. They gradually swing to the latter operation, and became creators and advisers rather then salesmen. As the final stage in their development process, they then had to employ people who had experience of the best publications to advertise any particular product in, and who could negotiate with the media about advertising position, price and date of appearance - they then had to add the beginnings of the modern media department to their businesses.
By this point, the advertising ‘agents’ had broken away entirely from their subordinate position as media salesmen, and formed businesses in their own right with direct links to their clients rather than to the media being used. The media, however, continued to grant a certain commission to agencies which they regarded as efficient and financially sound, if they accepted (annually) certain conditions, e.g. promising not to refund any of the media-agency commission to the advertisers in an attempt to lower prices.
Development
Up until the 2nd World War, most advertising agencies, (especially in Britain) were, by modern standards, rudimentary affairs. The most important men were copywriters, who used their instinct and experience to produce copy that would motivate a generally defined group of consumers to buy the product - this copy was then laid out and illustrated if necessary by the artists, with the copy as the guiding principle. Media men, too, placed the ads by experience and instinct, with only circulation figures to guide them, and production men had only to contend with black and white letterpress in limited ranges, one commercial radio station - virtually no cinema opportunities. The whole business, in short, was conducted on an ad hoc basis, with little systematic effort because of a lack of theory and of practical data.
After the war, this situation changed completely with the introduction of the concept of marketing from America, which changed the emphasis in business from what the manufacturer wished to make and this times to sell through marketing (‘product orientation’) to what the consumer wished to buy and wanted to know about through advertising (‘consumer orientation’). This required a whole range of new facts not previously available; facts about consumers (what they wanted, who wanted what, at what price etc); and facts about the distribution of P/S (what was available, where and in what form - retail, wholesale etc). Both media/market research, and companies specialising in this business, quickly developed to meet this need.
The development of the marketing concept changed the role of the advertising agency yet again - instead of restricting itself to producing ads and placing them effectively, it began to look at all the ways in which a clients business could be ‘promoted’. Before thinking about creating an advertisement at all, it began to look at relevant but wider questions -whether the P/S really matched the consumer’s needs, or whether something new is needed; what the differing levels of distribution were, and how media expenditure should be organised to match this etc. Similarly, its creative work became more complex to match these more specialised requirements, as did production to meet new printing/processing techniques.
Finally, as agencies grew in size to cope with all these extra functions, they attached more importance to the post of ‘account manager’, who acted as a co-ordinator for all these activities throughout an agency on one specific ‘account’, and also represented the agency to the client. In the late 50s, with the marketing concept firmly established in advertising for products in similar categories became somewhat repetitive and hard to tell apart. This led to greater emphasis being placed on the individuality and impact of ads in all media. Creativity became the guiding principle of advertising and this lead to a rapid expansion of ‘hot shop’ agencies -
Small business, often no more than 2/3 people, whose only service was a creative solution to a marketing problem presented to them from outside. The end result was a tide of award-winning but largely unintelligible and ineffective ads.
The final stages in this development process were the increase in size amongst many agencies in the late 60s/early 70s through a series of merger and takeover and the diversification of these larger agencies into a wide variety of other fields and specialities - PR services, product development , package design, direct response, recruitment etc. - until they became full service marketing and communications agencies and not just ‘advertising’ agencies.
Wednesday, 17 December 2008
Plans for January
During the Christmas holiday, Kelsey and I have arranged to book out 2 Macs in order for us both to be able to complete work. As Kelsey doesn't feel comfortable using Premiere, I am going to edit the clips we have left and then put them in order and add transitions on there whilst Kelsey edits the clips I am going to shoot this week. This will allow our finished product to be complete for January. In January, we are going to focus on advert 2 and re shoot any clips we need to for advert 2. However, when we have finished shooting advert 2, either me or Kelsey will edit the clips whilst the other one films advert 3, this will allow us to be on course to reach our final deadline. I will conduct a new shooting schedule for January to enable us to remain organised.
Update of my progress
Throughout our coursework Kelsey and I have overcome many problems in order to get to the stage at which we are at now. Our first deadline was last week, however we did not meet it as it was to complete advert 1 and in rough advert 2 and 3. Although, I remain positive to meet the deadline in February and we are on course. Advert 1 will take the longest to complete as towards the beginning we had to learn how to use the software, therefore during advert 2 and 3 I feel we can achieve a finished product quicker. Lighting was a re-occurring problem as it was hard to get minimal shadows but enough shadows to create a realistic set, however we have overcome this problem by having the angle of the lighting exactly the same for each clip. Also whilst using Flash, as we were knew to the software we kept forgetting to crop the clip and therefore after editing it and exporting the clip half of the video would be cut out and therefore we would have to re-edit. Along the way of producing our product Kelsey and I have had some healthy disagreements, however we have come to the agreement to not include a mid shot of the boat and island in the corner as the audience won't be able tell it is an island and probably believe it to be a sun and as we have many clip of the boat to establish the setting we felt it wouldn't be necessary to include it. Also after I had animated most of the clips we have already completed Kelsey felt that having to in depth eyes would lose the childlike effect and therefore we have decided to change the eyes to just dots and include a mouth to enable us to create expressions, allowing the audience to understand the advert better. Finally, I believe that our advert 1 will be finished at the beggining of January allowing us to begin advert 2.
Wednesday, 10 December 2008
Problems with Advert 1
Throughout making advert 1 we have faced many problems. One of which is the lighting, this has been one of our main problems when filming as each time we left our work and come back to it we couldn't get the colour of the lighting the same. Therefore, we had to re-shoot many of the clips in order for the lighting to be the same or similar in each clip. Another problem in which we came across was sizes, whilst making all of our props, we believed they would have to be larger than what was needed, as the scale of the surface we was working on was smaller than needed.
Monday, 8 December 2008
Changes
Today we decided to change which programme we use, we was going to use iMovie, however we are now going to use Adobe Premiere. This is because iMovie only allows us to use two different layers of sound and as we need layers for soundtrack, sound effects and voice overs we therefore felt Premiere would be more beneficial as sound is a significant part for our advert as we can't use different shot styles.
Tuesday, 2 December 2008
Animating Clip 1
Today, Kelsey and I animated our first two clips. This was a great success and gave us both a lot of confidence. The clip in which I animated was clip 1 and after many attempts, I have finally edited the clip to the standards needed and which we can use in the advert. However, when I put the clip on to iMovie I will edit it and cut the end off so that the arms are still with the men at the end of the clip. Kelsey animated the the clip in which the tropical skittle and original skittle meet. I love this clip as i feel it portrays what we have been trying to achieve, a childlike advert. This was achieved through the childlike drawing of the arms and legs, and of the childish handshake between the two characters. Furthermore, we have also decided to include just the initial 'S' on the skittle men and their eyes as there is no room for a mouth as well, therefore we felt the eyes would be more beneficial as there will be music, enabling the skittles to not have to speak.
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