iab online marketing guide

8/8/2019 IAB Online Marketing Guide

1/92

Internet MarketingHandbookSeries

Take note in which order you unpack the components o the product.

This will help in the repacking

IMPORTANT

iabOnline

MarketingGuide

ASSEMBLY INSTRUCTIONS INSIDE


2/92

A Stage 1 Introduction 2

B Stage 2 Role o online 4

C Stage 3 Guide to online 8

D Stage 4 Planning 18

E Stage 5 Brieng 26

F Stage 6 Agency Response 30

G Stage 7 Process 40

H Stage 8 Evaluating Creative and Media Plans 52

I Stage 9 Production 58

J Stage 10 Measurement 64

K Stage 11 Unthink Your Brand 74

L Stage 12 Internet Advertising Standards 80

M Stage 13 Jargon Buster 82N Stage 14 Useul Contacts 86

Components

Read all

instructions

beore use and

keep or uture

reerence


3/92

OnlineMarketing guide

1

Introduction Agency response Unthink

Your Brand

Jargon

Buster

Useul

Contacts

Brieng

Planning

Guide to online

Role o online

Process

Evaluation

Production

Measurement


4/92

Stage 1 Introduction

Read these

instructions

careully and

amiliarise yoursel

with the procedurebeore assembling

the unit.

2

The Internet Advertising Bureau o today is very dierent to that o

ten, ve and even two years ago. Right at the beginning in 1997

it was all about nding our eet, making sense o what the whole

World Wide Web had to oer, and how we could actually make

money rom it. At the time Im sure it was pretty scary or any

advertiser even starting to consider embracing this new channel.And well done to those brave rst ew!

5 years ago things were starting to become a little clearer, but online

was in dire need o standards, best practice guidelines and sel-

regulation or the marketing community to begin taking the medium

seriously. The IAB listened and then we acted, and, although we

cant pretend that it was all our doing, online advertising expenditure

started to grow.

Just 3 years ago, when I started as chie executive o the IAB,

our positioning changed. That was the time to really evangelise to

advertisers just how eective and engaging internet advertising can

be. In my rst 100 days in the role, it became clear that we had

quite a job on our hands and that many marketers just couldnt see

a place or online in their communications strategies

But look at us now! The industry is worth over 2 billion, we have

a cracking 11.4% market share thats hal the size o TV and

once again our role has been transormed. Perhaps to an extent,

much o what has been achieved thus ar is all down to trial and

error, testing what worked and learning rom what didnt. What we

need now is to take online marketing one step urther and go about

dening the digital mindset. The UKs advertisers and agencies

SIMPLE ASSEMBLY INSTRUCTIONS

rom Guy Phillipson,CEO of the Internet Advertising Bureau

Guy Phillipson

CEO, Internet

Advertising Bureau


5/92

Read all instructions beore use and keep or uture reerence


3

no longer need persuading o the strengths o online,

rather what we aim to provide is practical advice,

sound knowledge, improved digital skills and a step

by step guide to constructing their very own internet

marketing campaign.

In my opinion the industry is awash with ar too many

what is guides and not nearly enough how tos.

Online is a medium with dierent rules, and whilst we

all may appreciate its ability to engage consumers as

well as providing incredible return on investment its

not quite as easy or the more traditional amongst us

to comprehend as, say, a 6-sheet, DPS or 30 second

TV ad. However, executed eectively it can be just

as, i not more rewarding.

This guide is not intended to serve as a rule book

or all things online, but were pretty condent that

by the end o the document youll be thoroughly

motivated, enlightened and inspired to create even

better internet campaigns. In my time at the IAB Ive

seen some incredible work online, truly interactive

and engaging, some even legendary, and with the

pace o creative and technological advancement,

long may this continue. With a series o denitions,

recommendations, case studies and contacts at your

nger tips, its never been easier to do it yoursel.

FittingsFittings

A 29 x Peg

B 2 x Guy Rope

C 3 x Spare Connector

D 1 x Spare Peg

E 1 x Spare Guy Rope


6/92

Stage 2 The role o online

4

By Kieron Matthews

Marketers like traditional advertising because it is heavily based on

rules and assumptions. A number o stereotypical examples will help

illustrate this argument.

By advertising on cross tracks one can assume that between

7-9am and 5-7pm Monday to Friday you are going to reach bored

commuters. Outside those hours youll be hitting tourists trying to

decipher Harry Becks tube map and the ticket barriers. Run a

radio spot on Drive Time and youll be entertaining an audience

seeking to wind down rom a hard days work. Place a DPS in a

lads mag and (surprise!) youll nd blokes looking or something

slightly risqu. Aside rom pressing the red button, TV adverts t set

parameters with heavily regulated content that strives to emotionally

cut through to a wide audience, making it excellent possibly even

the best - or awareness campaigns.

I youve been in marketing or some time you will remember how

straight orward it used to be in the end delivery. TV: to dramatise

the emotional values o your brand and reach. Outdoor: or sustained

communication. Print: to carry more in-depth product inormation.

DM: or a one-to-one dialogue, and direct response and salespromotion to persuade your customers in-store. In act, according

to IPA dataMINE the average number o marketing channels used in

the 1980s was 2, and today its 5.

Due to onlines accountability, it has very quickly been associated

with the assumption that online is all about direct response, that all-


Kieron Matthews

head o marketing,

Internet Advertising

Bureau


7/92



5

important call to action, largely driven by the click-

through metric. Its easy to see why, when it has

been the only medium that has allowed such orms

o instant measurement?

However, this assumes that all internet users are

eagerly sitting on the edge o their seat, ready and

willing to act on your message, which is rarely the

case. Just with TV advertising, the online consumer

is there or a specic task, to communicate or to

browse their avourite sites. NOT to interact with

advertising. One would be nave to assume that the

23 hours that consumers in the UK spend online per

week (YouGov) is all spent interacting with brand

messages. Instead they are searching, playing,reading, viewing, researching, sharing, creating

and talking, amongst other things. This behaviour

holds great potential, yet is oten overlooked by

advertisers.

Rather than limit your activity to short campaign

bursts, online aords you the opportunity to exploit

a relationship with a consumer over a much longerperiod o time. For example, by using behavioural

targeting that tracks a users interaction with

websites - you can deliver staged advertising over

a set period o time increasing in message intensity

until they are ready to interact. Whilst you may not

decide to click on an ad or CDWOW immediately,

Assembly Instructions

1. Slide the Black Fiberglass Poles

D, Grey Fiberglass Pole E and

Yellow Fiberglass Ple F through

the sleeves in Flysheet A.

See Fig. 2.

2. Careully bend the Black

Fiberglass Poles D tting the ends

onto the pins in the corners o

the Flysheet A. Then t the Grey

Fiberglass Pole E tting the ends

onto the pins in the corners o the

Flysheet A.

See Fig. 3 and 4.


8/926

its sustained presence during your day-to-day browsing can ensure

that it is ront o mind when you are ready to buy a CD. The same

can apply to ofine purchases. I an advertiser knows that you visit

the Times Online everyday this is an excellent opportunity or a brand

such as Sony BRAVIA to deliver consistent messaging so that you

are more likely to have it ront-o-mind when you do eventually decide

to buy a new TV in-store. Where other channels have strength in

specic messaging, online is uniquely placed to acilitate them all -

including the most powerul, advocacy.

Look at the diagram above which illustrates the role that dierentmedia can play in the marketing process. Just look at what online

can do! This type o awareness campaign is also highly measurable

and there are plenty o industry players - such at Dynamic Logic -

who can track the eect o online advertising on awareness shits

and purchase intent. To nd out how they can help you, urther

contact details or such organisations can be ound at the end o

the guide.

Read these

instructions

careully and

amiliarise yoursel

with the procedurebeore assembling

the unit.

IMPORTANT

AWARENESS

KNOWLEDGE

LIKING

CONVICTION

PREFERENCE

PURCHASE

ADVOCACY

Word of Mouth

BTL

SP

ONLINE

ATL

Stage 2 The role o online



9/92



7

Furthermore, the construction o campaigns has

dramatically changed. Pre-internet campaigns

were launched and then removed when their time

was up. On the internet consumers are reviewing,

contributing, spoong, hosting and engaging with

campaigns long ater they have run their course.

It is the role o the IAB to help advertisers appreciate

that the rules and assumptions o traditional marketing

cannot be applied to online. In order to execute

truly eective integrated campaigns, a greater

understanding and analysis o consumer behaviour,

and indeed the marketing process is required.

One theme that will eature particularly prominently

throughout this guide is integration; online should inno way be treated as an aterthought, with traditional

media executions being adapted in a sloppy manner

or the internet. Do this and your audiences will notice

within seconds. Integrate online ully within a cross-

media campaign, and you will reap the rewards rom

the unique interaction that the medium oers.

Whilst the growth o the internet has removed thetraditional comort o hard-and-ast rules, there are

some key points to keep in mind when launching

your own online campaign, which shall be urther

explored throughout this online marketing guide:

Identiy the role o online

beore you brie an agency it

may result in dierent creative

working in dierent ways.

Does the online element work

with other media rather than

work in isolation?

Have you allocated adequate

budget to measure what you

want?

Does my campaign message

talk to my consumer where

they spend their time, rather

than where Ive always tried to

reach them?


10/92

Stage 3 Guide to online

8

Display advertising:

Standard ormats

The most basic ormats o online advertising units, include banners,

MPUs (mid page units) and skyscrapers. These advertising units

are readily available on most commercial websites and oer theadvertiser a xed presence on the website, in particular when used

in combination with rich media.

Video

Becoming more widespread due to the adoption o broadband and

the consumption o digital content, video ads have become popular

with advertisers and users alike as they enable TV like quality o

video ads to be streamed in a truly engaging ormat.

FMCG brands normally rely on TV or generating impact P&G,

with their Arial Sensitive brand implemented a trial combining online

ad units and TV spots within the Yahoo! Video Player they ound

that this combination o traditional online ormats with video ads

provided eective coverage o the branding metrics right through

the consumer marketing unnel.

Search

Natural search results are those listings that appear at the discretion

o the search engines and do not incur a charge to the listed site.

In most search engines these are the main results. Search engine

optimisation (SEO) is the practice o improving the visibility o your


Skyscraper

Banner

MPU


11/92



9

website to search engines or keywords that are

relevant to your business. The goal o SEO is to

achieve good ranking in natural search results.

Paid or search or pay-per-click (PPC) is where

search engines guarantee advertisers will

appear in search results. The order in which they

appear will depend on the amount o money

the advertiser is prepared to pay or a click on

their listing. Advertisers will bid against certain

keywords to achieve the position they want.

Good online marketing will employ a mix o both

natural and paid or search activity.

Social search

With the rise o social networking websites, a

new type o online search engine has evolved.

Social search ocuses on shared user-generated

content (UGC) such as opinions, comments,

sharing, voting and ranking.

Websites such as Wikipedia, TripAdvisor

and Yahoo! Answers are good examples o

user-generated content and are generally

considered more trusted and unbiased sources

o inormation than commercial websites.

Video: Channel 4 On Demand

Search: MSN

Search: Google

Search Yahoo! Answers


12/9210

Targeting

Right product, right consumer, right time is the essence o targeting,

and behavioural targeting is just one way to deliver results online.

Behavioural targeting helps advertisers to nd interested browsers

and turn them into buyers by tracking their activity across multiplewebsites. I a consumer visits lots o websites dedicated to electrical

goods or example, their details will be added to a large database o

people with this interest. Online ads can be directed at consumers

who have expressed an interest in a brand or product category. The

process is completely anonymous yet immediate and automated.

Re-marketing oten results in more eective online campaigns, as

the advertising is more relevant or consumers. Online networks

that oer advertising across many websites can also oer greater

eciencies because they have the reach and technology to nd

interested consumers again.

Behavioural targeting is quickly becoming a powerul and essential

element o the online advertisers toolbox.

Networks

Whether an advertisers goal is brand awareness, lead generation

or direct sales, advertising networks have the reach and experience

to provide a positive return on investment at every stage o the

consumer purchase process.

By aggregating inventory rom leading sites, networks are able to

provide advertisers with a single point o contact while reaching a



WITH THANKS TO


13/92



11

large portion o the online audience. Networks make

it easy or advertisers and advanced technology

makes the process more eective.

Quality is o paramount importance, and it is

critical that advertisers seek networks who are well

established and who strictly monitor their partner

publishers. With the right network one who oers

perormance, assurance and experience advertisers

can enjoy great results. For more inormation visit

the Internet Advertising Sales Houses (IASH) website

www.iash.org.uk.

Email

Email marketing is what it says on the tin the delivery

o sales or marketing messages via email. Formats

range rom plain text to HTML. As a channel email

is proving to produce high ROI and accountability

thanks to the reporting metrics that are available.

Email provides a ast and cost eective route to

market or marketing messages compared with

other channels.

Along with the power o email comes the abuse o

email, commonly known as spam. Some people ail

to distinguish between permission marketing and

email spam; spam is a major threat to legitimate

email marketers, as irresponsible, non-targeted email

could make the entire email channel less eective.

Email: Toptable


14/9212

Afliates

Aliate marketing is a working relationship whereby a merchant

(online shop or advertiser) has consumers driven to it by adverts on

an aliate (third party website). I a consumer visiting the aliates site

clicks on an advertisement and goes onto perorm a specied action

(usually a purchase) on an advertisers site then the aliate receives acommission. For example, Amazon.co.uk oers an aliate scheme

allowing aliates to advertise products on their sites. I visitors to the

aliate sites then click through and make a purchase, the aliate

receives a percentage o the revenues.

User-generated content/web 2.0

User-generated content reers to content produced by consumers

themselves. UGC can constitute a portion o a website, or exampleon sites like hotel.co.uk and amazon.co.uk a small portion o the

site is taken up by user reviews o the products and services that are

oered. There are various types o user-generated content ranging

rom, blogs, social networking sites, photo sharing sites, discussion

boards and customer review sites. Acknowledged websites based

on user-generated content include MySpace, Facebook, Flickr,

YouTube, Wikipedia and Tripadvisor.

User-generated content can be seen as a two-way process, this

is a key characteristic o web 2.0 which encourages the publishing

o ones own content and commenting on other peoples. Web

2.0 is the term used to describe the next generation o online use.

Complimenting UGC web 2.0 identies the consumer as a major

contributor in the evolution o the internet into a two-way medium.




15/92



13

One emerging tool oten ound within social

networking is the widget. A widget is a useul

or entertaining branded application that can be

downloaded and add to the online experience.

They can be un, oer you additional or exclusive

inormation or can enable to you to search the web,

tag pages or images and share with riends. Widgets

and toolbars are very easy or businesses to create

and execute, and once the original production cost

has been incurred can be extremely cost-eective.

They are also user-intiated, and are thereore a

great way to reach your target audience on their

terms, being entirely permission-based. This makes

them an extremely exciting prospect or advertisers

looking to penetrate the social networking space,without resorting to intrusive and overt marketing

messages.

Were seeing an increasing number o branded

applications online, as well as branded virtual gits,

which cost the consumer nothing but they can

download and share with ease. Particularly since

Facebook have been developing their advertisingmodel, brands are beginning to see the wealth o

opportunities available in this space. However the

main challenge is or marketers to not bombard their

consumers with advertising messages and make

any widgets or applications relevant to their brand

values and online oering.

FittingsFittings

A 29 x Peg

B 2 x Guy Rope


D 1 x Spare Peg



16/9214

Tenancies

Tenancies are a long-term strategic option or an advertiser whereby

they occupy or rent an area o another website in the same way

a concession would in a department store. This is usually an online

publisher or media owner with related content to their business.

Tenancies provide an advertiser with the opportunity to take overa specic area on another website, or a set period o time in

exchange or a regular, xed ee. The advertiser in eect, in return

or commission becomes a tenant o the media owner. The users

experience is enhanced as they are given quick access to related

content or services. For example, the content or the dating area o

a portal is provided by a well-known online dating service.

Content

Microsite - A microsite is the term reerring to an individual web page

or cluster o pages which are designed to unction as a supplement

to a primary website, oten the microsites main landing page will

have its own URL. These sub-sites can be reached via clicking on an

ad, the user will stay on the publishers website but will gain access

to urther inormation rom the advertiser.

Microsites are oten used or purely commercial purposes in orderto create detailed inormation about a particular service or product.

They can also be used as editorial support when promoting a

specic or new product. For example a car manuacturer may use a

microsite to introduce a new hybrid vehicle. They can also be used

tactically when created to carry specic keyword-rich content with

the aim o search engines ranking them highly.



Microsite: Poke

Orange Unlimited


17/92



15

Viral marketing - Viral marketing reers to marketing

techniques that use social networks, and people to

share interesting and entertaining content which is

usually sponsored by a brand with the intention to

increase brand awareness. These viral commercials

oten appear in the orm o amusing video clips,

or interactive Flash games, images, and even text

messages. Viral marketing encourages people to

pass along a marketing message voluntarily by

word-o-mouth, email or social networks.

Advertorials - Advertorials are paid editorial

content provided by an advertiser commonly used

to promote a new product or service. Advertorials

have existed or years in print, but examples oonline advertorial can seem rare. Advertorials are

advertisements that seem to be written in the orm

o objective editorial, their intention is to look like

a legitimate and independent news story, press

release or opinion piece. They dier rom publicity

advertisements because the marketer with control

over the copy must pay a ee to the media company

or the ad placement.

Online PR

Online PR has thus ar been treated with a degree

o reticence rom the internet marketing industry,

and is oten perceived as a discipline ar removed

rom traditional public relations. However, the core

UGC: Be Kind Rewind

UGC: Topshop acebook

Viral Marketing:

Subservient Chicken


18/9216

principles remain the same: the need to promote and preserve

your core brand values; to communicate the latest company

announcements and to establish relationships with your key

stakeholders - in the main through a third party such as journalist

or brand advocate.

What makes online PR dierent is the wealth o vehicles through

which your marketing and corporate communications messages

can now travel, such as blogs, orums, the sometimes less ormal

(and more immediate) digital publications and other virtual spaces

such as Second Lie. Online PR must be treated with same

attention as your ofine PR, and also enables you to respond to

online commentary, where appropriate and collaborate with your

public to a ar greater extent than the more traditional one-way (or

asymmetrical) model o public relations.

Mobile

Mobile internet growth is predicted to double globally over the next

5 years (considerably outstripping that o the PC), a huge new

marketing opportunity has arisen. Advertisers can now connect with

their audiences in an immediate, interactive and measurable way.

Rapid developments in mobile internet unctionality and content

has allowed traditional online advertising ormats such as rich media

banners, text links, video streaming and content sponsorships to

become more common. Mobile commerce - the ability to buy

online whilst using a mobile handheld device is also a popular use

o the medium.

Mobile search is signicant or the usability o mobile content,



Mobile: PokeOrange Unlimited


19/92



17

similarly as with internet search engines, services

order advertisers in accordance with the amount

they have bid or a keyword. Most mobile phone

networks oer a service that integrates content and

location-based inormation.

In-game advertising

Video games are one o the newest advertising

channels and with over 10 million gamers in the UK,

playing or 11 hrs a week on average, it is also one o

the largest untapped mediums.

With online gaming, marketers can serve their

advertising into a real-time, dynamic entertaining and

engaging environment. In-game advertising creates

the opportunity or a real-lie brand to exist wherever

a gamer might see them in real-lie on billboards,

posters, vehicles, or television screens. In-game

advertising is highly measurable and consumers can

be targeted by demographic, type o game, daypart

and even day o week.

An example o brands using in-game advertising

as a marketing tool, can be seen by Adidas in the

Power Challenge games, Adidas eatured on player

apparel, balls, stadium signage as well as inviting

players to select rom two dierent styles o Adidas

ootball boots, aecting their gameplay as well as

reinorcing the brand attributes o each boot.

L

SELECT

In-game advertising


20/92

Stage 4 Planning and online integration

18

By

When embracing digital media, brands ace a challenge in using

it correctly, but one that isnt insurmountable. Understanding how

your audiences use online oers a wealth o new opportunities and

allows advertisers the ability to create brand experiences that canchange perceptions, and tangibly sell goods and services.

In reality, digital is oten an aterthought and or countless brands,

their digital strategy is a complete departure rom the rest o their

media and creative strategy. Creative, media and digital planning

should not operate in a vacuum.

All clients want the most eective communications and the best

return on investment. As media ragments, strategies based on

share o voice become ineective and unaordable. The only way or

brands to rise above the white noise o ad clutter and connect with

consumers is to have a clear, strong and dierentiating campaign

idea. Integrated planning is about executing a campaign idea that

is grounded in consumer insight and executing it through the most

eective channels online will oten be one o them.

There are ve critical questions to ask yoursel as a rst step toachieving successul integrated planning:

Do you understand the consumer rom an online perspective?

Is the execution making the most o the media?

Are your creative and media agencies working together?

Are your media channels working together?

Do you know what you want to achieve rom online and are you

measuring the right thing?


Read these

instructions careully

and amiliarise

yoursel with the

procedure beore

assembling the unit.

IMPORTANT

Gavin Reader

head o digital

strategy,

BLM Quantum


21/92


19

Q1. Do you understand the consumer rom an

online perspective?

Consumer understanding is at the heart o all good

planning, more so with digital media because o

its multi-aceted nature. This makes consumer

behaviour complex and challenging to unravel, yet

innitely rewarding i used eectively.

However, digital media consumption is usually

a refection o someones liestyle and interests.

For example, a young ashion conscious woman

might use digital to be the rst to know about thetrends, whereas a 65 year-old might use online to

connect with their hobbies/passions and share their

expertise.

Dierent people use online or dierent reasons

and this dictates their mindset. Both creative and

media agencies need to understand the consumer

mindset to develop eective communications. For

example consumers using online or entertainment

purposes tend to sur sites, oten not looking or

anything in particular. Creative in these environments

can be intriguing, tempting the users to interact and

become engaged. Whereas creative in task based

environments like price comparison sites needs

to be very product ocused, giving the user the

inormation they are looking or.


1. Position the Inner Tent B so thezipped door is near the door o

Flysheet A.

See Fig. 6.

2. Careully hang the Inner Tent B on

the inside o the Flysheet A using

the hooks and rings.

See Fig. 7.

3. Stretch out the ground sheet o

Inner Tent B by connecting the

clips to Flysheet A.

See Fig. 8.


22/9220

Planners and their clients can only begin to understand the potential

role o online and how best to engage an audience when there is a

true understanding.

What to do

Ask your agency to tell you the role online plays in your audienceslives. What they are doing and what is signicant about their

online behaviour that could aect the media strategy or creative

development.

Do this as early as you can so that it can inorm the whole

communications brie, not just the online execution.

Make sure your creative and media agencies work together to

ensure your message ts your consumers mindset.

Q2. Is the execution making the most o the media?

Integrated planning is successul when agencies understand how

people consume media and then correctly identiy the role each

digital channel (or example search, display, UGC) plays in delivering

the overall communication. This is key to digital media as it can ull

so many roles.

Integration is not about having a suitcase suite mentality o media

where each channel has a common look. For example, Dove used

outdoor and TV to establish its real beauty campaign idea, but

used online to propagate its now amous Evolution video aimed

at improving sel esteem among emale communities. Traditional

media and online where used to communicate dierent messages,

but used together to deliver a strong overall communication.




23/92



21

What to do

Understand and embrace every communications

channel, and ensure your agency has experience

o doing this too.

Brie your agencies together so that the digital

work isnt shoehorned in at the end.

Q3. Are your creative and media agencies

working together?

We hear about the I word all the time, but in practice

integration rarely happens. How oten is it that the

client presentation is the rst time the creative agency

sees the media strategy, and vice versa?

Good integrated planning happens when good ideas

are developed with everyone (media, creative, digital,

PR and direct) working together to bring it to lie. The

campaign idea can come rom either the client or

agency, but to ensure it is nurtured and successul,

agencies must be happy ullling the role they are

given. To do this the idea must come rst and eachagency must understand their role in its delivery.

Integrated planning is challenging, so clear direction

is essential along with an inclusive working process

and overall sense o collaboration between agencies.

To achieve this one person (or agency) needs to own

the process and this must be mandated by the client






See Fig. 2.







Flysheet A.

See Fig. 3 and 4.


24/9222

not least to counter natural inter-agency competitiveness and sel-

interest.

What to do

Demand that the creative and the media agency present together,

not creative then media. Ask your media and creative agency to demonstrate how working

together has inormed the brie.

Q4. Are your media channels working together? (And we dont

mean simply including a url in the TV ad!)

Too many agencies are siloed into their own area o expertise.

Consumer understanding must be at the heart o the integrated

process with experts on board who understand how the consumer

interacts with dierent channels.

Curiosity is part o our DNA and online is where we go to nd

things. There are several studies that show the clear link between

TV advertising and brand search behaviour, while others document

the relationship between magazine consumption and online product

research. (The IAB conducted an in-depth analysis o how radio

and online work together in the media mix and are gearing up or a

similar study with TV.)

I we understand how ads make people curious to know more and

where they look, we can make sure we are in the right places, saying

the right things.




25/92



23

For example, the Sony BRAVIA ads eatured bouncing

balls as the champion not the TV. Curious to know

more, many people may have typed bouncing balls

into Google. By buying bouncing balls as a search

term Sony exploited the opportunity to be ound by

interested consumers. Oten this doesnt happen

and oten opportunities are missed.

What to do

Give your digital agency your marketing plans

and show them the creative or each channel, so

they can put your brand where consumers are

looking.

Q5. Do you know what you want to achieve

rom online and are you measuring the

right thing?

The digital landscape is constantly changing, creating

new channels and communications opportunities.

Much o this is unchartered territory or advertisers,so using them comes with an inherent degree o risk.

However, by putting a ramework o measurement in

place we can understand more about the eects o

emerging channels and how they work together with

traditional media, reducing risk in the uture.

We hear about the I word all the

time, but in practice integration

rarely happens. How oten is it

that the client presentation is

the frst time the creative agency

sees the media strategy, or is it

vice versa?

Gavin Reeder,

head o digital strategy,

BLM Quantum


26/9224

Dont assume all ROI metrics need to be direct response led are

your TV and print? An ROI metric might simply be the amount o

times your brand has been mentioned in blogs!

What to do now

Push your agency to identiy relevant emerging channels and

understand their contribution to a campaign not just on traditional

qualitative ROI measurements but by new measurement such as

brand engagement.

Ask your agency what you should measure, dont eel embarrassed

i you dont know.

Read the chapter on measurement, towards the end o your IAB

online marketing guide.




27/92



25

There are many ways to work with your media

agency and it is essential to choose one that

best suits you. Think like the consumer and

you cant go ar wrong. Consumers dont

compartmentalise between ecommerce and

brand so why should clients structure their

agencies in this way?


Consumer understanding is at

the heart o all good planning,more so with digital media

because o its multiaceted

nature. This makes consumer

behaviour complex and

challenging to unravel,

yet infnitely rewarding i

manipulated eectively.

Gavin Reeder,head o digital strategy,

BLM Quantum


28/92

Stage 5 Briefng agencies

26

By

Unless you are planning a purely digital campaign, online advertising

will sit in a wider mix o communications. Ideally you should provide

your ATL and digital agencies with a single brie with the objective

o a totally integrated campaign. Online should never be thought o

as just an add on. Depending on the budget being allocated you will

probably need to designate a lead agency.

Written brie

A written brie should always be provided as this acts as a reerence

point or the development and delivery o the campaign and sets the

standards by which the campaign will be measured but should sit

alongside an in the round brieng session to ensure the agencies

have all they need.

The detail in the brie will o course depend on whether this is a new

agency/new major activity or an extension o a previous campaign.

But lets assume this is a new agency engagement.

You should aim to give the agency as much understanding o your

business as possible and the strategic and business objectives thatthe advertising supports. The rst part o the brie should explain

what the marketing proposition is and the key benets i.e. why

consumers should buy, use, consider.

Give as much background as possible what does the competitive

marketplace look like. Include insights rom any client research or

reports AND ask yoursel the ollowing questions:


IMPORTANT

True insights which

become central

to the creative

strategy are oten

gleaned through

unpredictable means.

They are rarely ound

in a brand manual.

Barbara Newman,

head o communication

& brand development,

Yell.com


29/92


27

What are the business and marketing

objectives that the activity supports grow

market share/drive awareness/purchase/

usage/new product launch etc?

What are the specic communication

objectives what should the advertising

do? Are they dierent to the marketing

objectives? Do you want the online activity

to do something dierent to above the line

(direct response vs. brand or example)?

Who is the audience or the activity this

should be as detailed as possible who

are they, not just a demographic prole,

what are their attitudes and behaviours? I

you have research that backs this up give

the agencies access.

What are the key messages what is it

you want to say about your product or

service?

What are the reasons or a consumer to

believe these messages give as much

evidence as possible this might be

product eatures/benets?

What do you want the target audience

to do/think/eel as a result o seeing your

messages/advertising?

Brand values and tone o voice this

should be consistent with all other brand

activity. Is it?

What are the mandatories are therethings that the advertising must include

(or exclude) these may include legal or

regulatory requirements (e.g. costs o calls

to premium rate numbers, inormation on

nancial products restrictions etc), client

requirements inclusion o parent brand

name etc.

How will the campaign activity bemeasured? What are the key perormance

indicators? Explain the research, tracking

or other metrics that will be used.

Timings. When do you need a response

to the brie and when is the activity to

start?

What are the other activities thatmay support the campaign? Are you

running PR or search engine marketing/

optimisation in-house? Give details o

these activities.

And nally, what is the budget and does

this need to be phased?


30/9228

Avoiding mistakes

Dont be prescriptive when brieng an agency. Youre paying them or

insight and creativity so give them a wide rein. Never rely on a verbal

only brie. This is open to misinterpretation and can lead to dispute and

lost time urther down the line.

Be realistic and give timescales that are achievable discuss this with

the agencies beore issuing a brie.

Its tempting to measure online activity purely in terms o CPC

remember this is also a powerul branding medium so look at the how

online ts with other activity and what the overall objectives are.

A brieng template can be useul as it ensures that all requirements are

covered. Some agencies will have preerred brieng templates so askor these and combine with your own.

Innovative ways o briefng

As brand managers/marketers, we know lots about our brands and

products. Theres a good chance we have lots o research (competitor

or otherwise) that could help our agencies out. Its a good idea to really

cherry pick what we think is most relevant and useul, rather than

send absolutely everything weve ever done, but we also need to think

laterally enough to know what may spark a creative thought.

It can be useul to provide agencies with a snapshot o work done to

date. I you think o your past activity as a book, only give a chapter

away, not the whole thing. We want to move orward, so dont want to

ocus too heavily on the past, but its good to share where the company/

brand has come rom in order to ocus on where we need to go.

Stage 5 Briefng agencies



31/92


29

Providing as many insights as possible will help

agencies get under the skin o what were promoting.

Brieng documents help, but i we can supplement

these with more hands-on opportunities, well

get better results. This can cover product testing,

demonstrations, actory/business tours, which all

help deliver brand / product immersion.

True insights which become central to the creative

strategy are oten gleaned through unpredictable

means. They are rarely ound in a brand manual.

Agencies can gain a wealth o inormation rom

talking to the people behind the business those

who live and breathe the brand. Shadowing the sales

team or meeting the actory foor manager can be

revealing. I you have a Centre o Excellence oten

true or car manuacturers - then plan agency visits

to see how you operate at the top o your game.

Encourage agencies to talk to end users. Whether

its through vox pops, ocus groups, or inormal

chats in the pub. They can make insights into the

experience come to lie which pure desk research

alone will not.

Finally, there is an expectation that as marketers we

are not meant to know all the answers. With the

incredible growth o online it is impossible or anyone

to keep up 100%. Thereore i you are in doubt,

simply ask questions rather than guess. Agencies

respond better to challenges than bries they dont

believe in.






See Fig. 2.







Flysheet A.

See Fig. 3 and 4.


32/92

Stage 6 Creative and media

agency response

30

In these early stages o an internet marketing campaign, partnership

between client, creative and media agencies is essential. Only

through inviting your digital agencies to the top table are you able

to ensure that your campaign is ully integrated and all objectives

are ullled, as discussed in chapter 4. Assessing the responses o

your creative and media agencies is just as important as the brieng

process, and requires the use o strict guidelines to ensure they

ull your brand strategy, as well as the inevitable gut instinct that

inorms you o the potential creative impact o your campaign.

Media, rom

Assessing your media agencys response should be a mixture

o two things: the rationale and your instinct.

The rationale:

Budgets. Firstly, check that the budget on the plan is exactly as

indicated by your agency. Exactly. I its over, your pay-masters

will not be happy and i its under, you probably wont be getting

as much media bang as you could. You need to make sure things

like ad serving, Advertising Standards Board o Finance (ASBOF),

ees are all included, otherwise you may need to make media

compromises later.

Strategy. Once the hygiene is done, make sure the media plan

refects the strategy a high impact strategy will require dierent

ormats / sites / channels / devices / buying currencies to a trac

driving campaign.


Read these

instructions careully

and amiliarise

yoursel with the

procedure beore

assembling the unit.

IMPORTANT


33/92



31

Past experience. When assessing sites and

ormats, and assuming youve run previous

campaigns or the product beore, track back to

make sure new proposals and plans take into

account learnings and data rom previous activity.

Ask your agency to show that theyve done this.

Site mix. Next, make sure the website mix is right

or the audience and your product. UGC and social

networks are all the rage at the moment but they

may not necessarily be right or your audience. I

in doubt about best practice guidelines ask or a

websites policies with regard to advertising, orreassurance i nothing else.

Portals are great or high reach, low cost media,

but will they be as eective as sites dedicated to

specic, relevant content? I quite a ew sites are

on the plan, theres a good chance that there will

be audience cross over, i.e. i someone sees your

ads on www.T3.co.uk they may also see them onFirebox as well. Check that your agency has taken

this into account tools such as comScore can help

understand optimal site mix. I the same sites keep

appearing on media plans or dierent campaigns,

ask your agency why this is. It is not necessarily a bad

thing and could be based on previous perormance

and low pricing but could also be because your


1. Position the Inner Tent B so the

zipped door is near the door o

Flysheet A.

See Fig. 6.




See Fig. 7.




See Fig. 8.


34/9232

agency receives kickbacks. It is thereore advisable to make sure

that sites are selected in your brands interests and not those o the

buying agency.

Targeting. Has your agency taken into account day-parting

and more detailed targeting actors? For example, i your ads

are asking people to play an online game, the chances are the

audience is more likely to respond at lunchtime, late aternoons

and on weekends. Establish the desired audience response to the

ads and this should all into place. Your agency will have previous

time / day data to establish when click-through rates are higher,

when theres more eyeballs online etc.

Measurement. How campaign eectiveness is assessed

obviously depends on its objectives. I its a direct responsecampaign and youre trying to get people to do / buy something,

your agency should demonstrate that click-through, arrival

and conversion rates will deliver your targets. I youre trying to

infuence audience opinion or behaviour, then more qualitative

data will be needed, so a research piece could be considered,

but this will probably be an additional cost. I this is the case

then your agency should demonstrate that theyve planned good

coverage and requency as how many people you reach will beimportant in determining value. Again, previous campaign data

should give you a steer to accurately orecasting this.

Integration, integration, integration. Finally, make sure that

your digital media and creative strategies are integrated this is

more important online than in any other media. I your media and

Stage 6 Creative and media agency response


Make sure the website

mix is right or the

audience and your

product. UGC and social

networks are all the rage

at the moment but they

may not necessarily be

right or your audience.

Will Smyth,

ormer account director

i-Level

IMPORTANT


35/92



33

creative come rom dierent agencies, it should

be evident whether theyve produced joined up

thinking or not. Further to this, you should establish

how the digital work ties in with ofine activity. E.g.

i your print plan ocuses on nationals, then how

do their online properties tie in? Should they tie

in? Whats important is or your agencies to show

that theyve thought about it and not produced

digital work in isolation.

Your instinct:

That gut eeling. You should be excited about

the strategy / plan your agency has presented

you. Is it interesting or inspiring? Have you beenchallenged to do something new or experimental?

Has your agency answered the brie and

then pushed a bit urther? They should. Dont

necessarily look to change the world with every

campaign, but always ask whether what youve

been presented with is going to be interesting or

the audience and whether this is the best way to

use interactive media. What else could we do?

Assembling the poles

1. Open the tent bag C, take out and

separate each o the components

inside.

2. Assemble the two Black

Fiberglass Poles D, Grey

Fiberglass Pole E and Yellow

Fiberglass Pole F.

See Fig. 1.


36/9234

Creative, rom

A clear creative agency response is required or two main reasons:

rstly you need to be condent enough to sign o a campaign as it

proceeds into a nancially critical stage and secondly, this response

will be used to justiy your communications plan to other members

o your team.

Due to older perceptions o online, as mentioned in chapter 2, your

peers may assume that a piece o creative is direct response driven

unless told otherwise. Thereore you need to be provided with

this inormation, and the rationale, by your agency. In assessing

the response rom your creative agency, and to ensure you are

equipped with all the right inormation, we recommend that you

consider 6 key areas:

1. Communications architecture

Sometimes reerred to as a communications plan, this is a pictorial

diagram o the communication elements, their specic role and

how they relate to one another. This is just one example or the

communications architecture drawn or a ctitious brand.



1. Communicationsarchitecture

2. Creative idea

3. Storyboards

4. Stimulus

5. Measurement

6. Logistics

IMPORTANT

Web 2.0 You TubeLinks

Views

BigIdea

Standard FormatsDirect Response

Impressionsand CTR

Main SiteEngagementDwell Time

VisitsInteractions

Data

Main SiteEngagementDwell Time

VisitsInteractions

Data

PRSearch placingColumn inches

SearchPPCPR

Blogcomments

Links

TVAwarenessMeasured by

Millward Brown

Rich MediaAwareness

Measured byDynamic Logic

Web VideoAwarenessImpressions

Views and time

Click through

Click through available


37/92



35

In this instance, the role o the standard ormat

display advertising is to drive trac to the microsite.

This suggests that the message needs to be more

direct and with a clearer call to action than rich

media advertising or example, which can be slightly

more complex in terms o content and interaction.

Mapping the role o each creative also identies

which type o metrics will be required to evaluate

the campaign. For example, rich media is bound to

attract a lower click-through rate, because the role

o these executions is to engage users and raise

awareness, rather than driving them straight through

to a site.

Undertaking this exercise also fags up any issuesi any aspect o the campaign is, or one reason

or another, dropped. Using this same example

you can see that i the blog or search actvity are

dropped, the PR element o the campaign is lost.

This creates a compelling argument when trying to

protect a budget that others see as a nice to have,

or add on to the more traditional activity. Finally,

communications architecture should have a creativeidea at the heart, which leads us to the second key

area or consideration.

2. Creative idea

Creative idea, Big Idea, Core Thought and

Social Currency are all phrases used by agencies

to describe a single campaign idea that all

FittingsFittings

A 29 x Peg

B 2 x Guy Rope


D 1 x Spare Peg



38/9236

communications can be based upon. Communications are oten

delivered by specialist agencies, so getting them all to either come

up with the idea together or work rom the one same idea will always

prove a challenge. It is essential when an idea is agreed upon that

you examine each digital oering in isolation to gauge whether each

execution will work. Because online is so diverse and creatively

fexible it might be that a big idea cannot always deliver across

the board. One obvious example is i you have a celebrity who

represents your big idea but reuses digital rights, which is where

you can all at the rst hurdle. Conversely exploring the options may

liberate the campaign even urther because online, you have the git

o unique online opportunities such as sel-regulation and signicant

user dwell-time.

The creative idea should be expressed in a single word or phrase.Here are a ew ways o summarising some amous campaigns in

one sentence answers wont be at the back.

Colour matters

Perect match

Campaign or real beauty

Rediscover the enjoyment o driving

I you dont agree with the Creative Idea at this stage you may not like

the creative, and at this point it i you have concerns, it is imperative

you express them.

3. (Simple) storyboards

Expect nothing more and ask or nothing more. A clearly drawn

storyboard should be enough to understand how the campaign



IMPORTANT


39/92



37

will work. Photoshop storyboards and/or working

demos are not only extremely costly to both parties,

but they also mean increased development time.

You may also all into the trap o being too concerned

initially with the visual representation o the campaign

and not evaluating its communication credentials.

4. Stimulus

Oten stimulus material is needed to communicate

how the campaign may animate and look. Mood

boards can clearly illustrate the visual direction o the

work, or example:

Examples o work to explain how the animation might

work or how the creative might look can be ound at

www.iabuk.net/richmediaroadshow and www.

creativeshowcase.net.

It is essential when an idea is

agreed upon that you examine

each digital oering in isolation

to gauge whether each execution

will work.

Kieron Matthews,

head o marketing

Internet Advertising Bureau


40/9238

Examples o work to explain how the animation might work or

how the creative might look can be ound at www.iabuk.net/

richmediaroadshow and www.creativeshowcase.net.

5. Measurement

It is important to identiy at this stage how the work will be measured.Not only will this make it clear rom the start what results metrics are

to be returned, it also ensures that the producers o the work are

aware at the early stages. The more bespoke a piece o creative

the more tailored the measurement needs to be, which thereore

needs to be actored into the production schedule. Moreover,

measurement isnt always ree, so this can also be fagged up as

early as possible in the production process.

6. Logistics

You should have already brieed the agency on your overall budget,

which will have allowed the agency to respond within those

parameters and not exceed expectations. This will allow your

agency to also accommodate or some additional costs such as

testing and tracking.




41/92



39

It is important to note that this is not a denitive set

o deliverables but has a proven track record with the

leading UK digital agencies. You may also recognise

some o these approaches i youve ever done the

same or a TV, print or DM campaign, and with good

reason. Online isnt so complex that there arent

tried and tested transerable skills that are just as

useul with regard to internet marketing.

Actions:

Clearly communicate what you expect in your rst

response.

Allocate adequate time or them to deliver.

Evaluate what is beore you and not what the

campaign could be.






See Fig. 2.







Flysheet A.

See Fig. 3 and 4.


42/92

Stage 7 Process

40

By

The process involved in the creation o an online advertising

campaign ollows an almost identical process to that used in the

production o a TV advertisement. At a high-level this centres around

8 key stages:

The brie and the briefng

At the heart o every successul advertising campaign is the brie,

and ultimately the brieng given to both the creative and media

agency; this is just as true when embarking on an online campaign

as it is with any other medium. Involve your digital agencies as early

in the process as possible; a well written single brie will outline the

vision and communication objectives or all advertising mediums.Remember its becoming less important to have matching luggage

in the orm o a singular creative concept executed across all

mediums, whilst this may help recall, more oten than not it doesnt

drive interaction.

Planning and creative concepting

Once youve issued your brie and held your brieng the creativeagency and media agency will start their planning process; or the

creative agency this will involve getting under the skin o your brie

and brieng, applying urther insight, collaboration with your media

agency, and producing a creative brie or the creative team to work

rom. Just like an above-the-line agency, digital agencies use

planners, art directors and copywriters.


8 KEY STAGES

Laurent Ezekiel

worldwide client

services director,

LBi

The brie and the

briefng

Planning and

creative concepting

Pre-production

Production

Post-production

Execution

The campaign

Campaign Analysis


43/92


41

The creative team will scamp up concepts that

meet your communication objectives and provide a

creative route that will work within the scope o the

media plan.

This stage should include a detailed project plan

that takes into account the objectives, list o

stakeholders and an area oten overlooked; a list o

potential risks and contingencies.

How long does all this take? You should allow or

1-2 weeks or the planning and concepting phase

depending on the size o your campaign and thequality o your brie. The better the brie is the less

the planning time is needed as a general rule. This

phase comes to an end once the creative route has

been approved.

Pre-Production

Once you have agreed on a creative direction or

the campaign, we enter the pre-production phase.

Just like in the production o a TV commercial,

digital creative agencies need to plan the detail o

the production.



Flysheet A.

See Fig. 6.




See Fig. 7.




See Fig. 8.


44/9242

Why? Well quite simply each campaign is unique and eatures

dierent skill sets and expertise. Remember an online campaign

can be as simple as static rame-by-rame animation, and at its

most complex; eature videos, data acquisition, game play and lots,

lots more .

To help explain this process lets look in detail at each o the

components that go into making an online campaign.

Your production may use:

Design

Illustration

3D design

Production

Photography and video

Sound

Data acquisition

Game play

Lets take a look at each o these. Well describe what goes on

during pre-production and how long you can expect it all to take.

Design

Pre-production time is needed to allow or the creative agency to

ensure that a designer with the suitable skill-set and brand exposure

is resourced to the production.

Stage 7 Process


DESIGN

How long does

this take?

You should allow

or 1 day or design

pre-production.


45/92


43

Illustration 1st Phase

3D design & illustration

Not used as oten as it once was, but it still worthy

o a place within this guide is 3D design and

illustration. 3D designers and illustrators, just like

their 2D counterparts oten sit outside o the agency

resource pool, thereore you should allow some time

or your agency to nd the right person or company

or the job.

Consideration also needs to be given to media

owner and ad-serving specifcations, this may

limit the usage o rich media assets.

Illustration

How long does this take?

You should allow 2 days or the

creative agency to sourcean illustrator.

As with design, the creative

agency will need to source

the right illustrator or the job

and sometimes this may mean

stepping outside o the agency

resource pool; especially i the

agency needs to source an

illustrator with a particular style.

3D Design & Illustration

How long does this take?

You should allow 2 days or

3D design pre-production.


46/9244

Photography & video

Organising photoshoots and lming is a time consuming business.

The checklist o questions your Producer will ask include

Do I need a studio or location? Does the studio need to be

green screen?

Is there travel involved?

Which Director, photographer and crew do I use?

Do I need models, actors or other on-screen talent?

What about props, make-up and wardrobe?

What are the rights, royalties and legal considerations?

Does this comply with health and saety?

Just like your above-the-line agency, your digital creative agency

will commission a production company that is best suited to

execute the lming or photography.

How long does this take? With all o the variables at play its hard

to say just how long the pre-production phase will take, especially

i you need to seek approval rom brand licensors. As a guide

you should allow or 2 weeks or the agency to work on these

aspects.

Stage 7 Process



47/92


45

A note on video

An example o how video production

is used. At the top we have actors

wearing colours and make-up that allow

or keying to be perormed, in post-

production we colour treat the reerence

lm and then composite with a digital

background.

Digital creative agencies are

producing more and more video

executions or clients. Its worth

bearing in mind that although

we hear about convergence, the

internet is still a separate medium

rom TV. Oten a TVC re-packaged

or online disappoints consumers

as the Director hasnt thought o

lming a beautiul TVC that will

also look beautiul in a small video

player window on a web page. That

long shot o a new product may

look great on a cinema screen, but

remember when its online itll be

tiny, only a ew pixels wide! Also, the

length o online video ads is an issue

as anything longer than 15 seconds

on short-play video tends to annoy

users and intrude on their online

experience. As a guide, keep ads

to 15 seconds or less, unless the

creative is particularly compelling.


48/9246

Sound

You may want sound adding to the consumer experience; more

oten than not sound will maniest itsel as event sounds (on

rollovers, clicks etc.) or the video soundtrack as opposed to a ull

orchestral soundscape! Sound can be intrusive i not used correctly,

your creative agency will be able to advise you as to whether or notits appropriate or your campaign. As a guide, sound should only be

used when a user requests to hear it.

Data acquisition

Rich media advertising ormats can support the ability or users to

input data direct into the advertisement itsel. This can prove to be

very powerul, especially in instances where you want interactionwithout the need to click-through to a destination site or landing

page.

Game play

Whether simple casual games, competitions or quizzes, game

ormats can engage and drive user interaction, especially i theyre

incentivated. Pre-production on game play involves the paper design

o the game play mechanic and the sourcing o their associated

prizes this can be a airly quick process i your product is in itsel a

worthy prize.

Risks and considerations

As with all specialist crats, it may not be possible to secure the

desired creative talent needed. Good Directors, Illustrators etc, are

oten booked well in advance.

Stage 7 Process



49/92


47

Data acquisition

Rich media advertising ormats

can support the ability or users

to input data direct into the

advertisement itsel.

Consideration needs to be given to media

owner and ad-serving specications, this may

limit the usage or combination o rich media

assets that can be used.

Production

The plans are laid, the talents booked and the

illustrators at the ready. Now the un begins.

In production not only do we get all the

component assets we need but also build the

advertising units.

Lets take a look at each o the components

and then see how it all comes together to

make the nished campaign.

Design

During production the designer or designers

will begin the process o turning the creative

teams scamps into the nal designs. This will

involve all o the necessary design, artworking

and typesetting.

How long does this take? It all depends on the

size o your campaign, but you should budget

or a week.


50/9248

Illustration 2nd Phase

The illustrator will produce the necessary vector based illustrations;

oten this will include the necessary rames to enable the fash

designer to create the necessary animations more on that later.

How long does this take? You should budget or a week or theillustrator to produce their work.

3D design

In the same way that the illustrator creates a 2D world the 3D artist

adds the other dimension. As with illustrations the nal les will

more oten than not be in vector ormat to allow easy integration

with Flash.

How long does this take? As with illustration you should budget or

a week or the illustrator to produce their work.

Photography and video

Lights, camera, action! A shoot and all that goes with it will take a

day, provided that multiple scenes, sets or locations arent used.

Sound

A sound designer will work with the creative team in creating the

right audio ambience to work with your campaign; this process

normally takes a week.

Stage 7 Process



51/92


49

Data acquisition

Building application unctionality within your

advertisements is the responsibility o the Flash

developer; you should allow a week or production

and testing and involve those necessary parties who

manage consumer data and systems.

Games

Flash developers are responsible or game

production. Depending on the complexity o your

game mechanic you should allow 1 to 4 weeks or

production.

Post-production

Not all o the components weve looked at require

post-production, but you should allow a week or the

editing and encoding o any video or sound.

Execution

Now we have all o our components its the job othe Flash designers and developers to bring them

all together into the nal online advertisement units.

This normally consists o building a master le or

approval and then creating the dierent versions

required or the ull media plan.



Flysheet A.

See Fig. 6.




See Fig. 7.




See Fig. 8.


52/9250

Execution times can vary based on the components youve used in

your production. For example a typical online advertisement will use

just design and illustration. In this instance typical timings would be

two days or the production o the Flash master and a day per unit

or standard inventory, banners, skyscrapers, MPUs etc.

For each placement your agency will create two types o le ormat;the Flash le, called a sw (pronounced swi) and a backup gi

alternative.

Extra complexity is added by using rich media advertisements.

Expand banners and skyscrapers, overlays, video banners, and

synchronised units all involve a greater level o eort and testing.

You should allow or 5 days or the execution and testing o each

rich media ormat.

Full inormation about the dierent display advertisement

ormats can be ound at: http://www.iabuk.net/iabinternet

advertisingstandards

The Campaign

During the campaign your digital creative agency will work with

your media agency to monitor and optimise the campaign where

appropriate.

Campaign Analysis

At the end o the campaign your digital creative agency will work

with your media agency to understand the successes or lesson

learnt rom the creative.

Stage 7 Process



53/92


51

Example Timeline

Finally, despite the example timescales, proessional

or brand communications will invariably take longerthan you or even your agency can anticipate.

Thereore give yoursel ample time to implement

campaigns. Online should no longer be regarded as

a quick medium.

The above diagram illustrates a high-level timeline o the

end-to-end production o a campaign. In this instance we

have chosen to illustrate a creative route eaturing video.

Remember its becoming less

important to have matching

luggage in the orm o a

singular creative concept

executed across all mediums,whilst this may help recall,

more oten than not it doesnt

drive interaction.

Laurent Ezekiel,

worldwide client services director,

LBi


54/92

Stage 8 Evaluating creative and

media plans

52

from

Evaluating digital campaigns

Judging the eectiveness o a digital campaign can require advanced

multi-tasking skills. You must weigh up the competing demands

o the messaging, brand, budget, media mix, KPIs and audience

attention span. To make it easier to guide well start by splitting the

evaluation process into the two most likely deliverables you will be

presented with; namely the creative concepts and media plan.

Evaluating digital creative

There are a number o key questions which you should apply to the

creative concept

Does your campaign deliver the key brand message?

Is there a strong idea?

What does the idea say about the product?

Simply, does the creative solution answer the brie proposition in a

persuasive, memorable way?

This is the core unction o any advertising; to deliver chosen sales

messages that are powerul enough to change brand perception

or cause a particular reaction. However, when looking at online

advertising (mainly because o the ease o measurement) this

oten becomes simplied into will it make people click. In act,

the key consumer message can actually be a much harder thing

to evaluate than those ound spelled out in traditional advertising

strap lines. The online environment allows or interaction, meaning


Ben Clapp

creative director,

Tribal DDB


55/92



53

that the idea, though less easily dened, can be ar

more powerul because brand messages can be

demonstrated and audiences are let with much

deeper comprehension.

Will it have cut-through?

Ads need to get noticed. The bottom line is that

you are competing or attention. Not just with other

ads, but with every other activity the audience could

be doing online. This is not to be conused with

intrusiveness (as in lie, shouting is probably the

least eective way to get people to listen). It is aboutintellectual cut-through using innovation and charm

to make the audience pause, so they pay attention

to your message.

Regardless o the delivery ormat, will your ad

stand out in its environment? Judging this can be

the hardest part, as digital oers countless ways

o engagement, many more than traditional TV or

press work.

Methods o engagement include

Personalisation

Visual design

Intrigue

Humour

Gaming

Puzzles

Entertainment

Interactive graphics

Enhanced unctionality


1. Position the Inner Tent B so the

zipped door is near the door o

Flysheet A.

See Fig. 6.




See Fig. 7.




See Fig. 8.


56/9254

What will the ad look like?

Almost anything can be created online given time and money.

Programmers and designers can create almost any type o digital

experience; but theres a world o dierence in quality between the

good and the bad.

How will the suggested idea be realised within your budget? Look

at some equivalent ads and ask your agency how much they cost.

Yours will almost certainly all into that ballpark in terms o build

quality.

Digital production is oten about compromise. Budget has to be

divided between production costs and media spend on lesize.

Filesize has to be divided between image quality and animation

- try to get a rm idea o what you are looking at.

Will the target audience respond to the tone?

Digital is the most targeted medium and it is essential to remember

the ad is almost denitely not aimed at you (certainly not anyone in

your rame o mind anyway!) Try to evaluate rom their point o view

and in their environment and online situation. A key realisation to

doing this is that brands and people, while essentially the same,behave dierently online. Online is a ar more conversational

medium and brand advertising may have to assume an appropriate

tone o voice to t in and not appear to be intruding. Many o the

most successul brands have clearly changed their entire brand

purely to allow themselves to be credible in the digital space. Does

your ad refect this? Are you saying something your audience will

appreciate?

Stage 8 Evaluating Creative and Media Plans



57/92



55

Where does the user go next?

The creative should t within a planned brand

journey. I there is a particular action you want a

user to perorm, does the ad have a strong call to

action to trigger it? Do you even want users to click

through immediately? I the user is not currently in

the market or a product, you may merely want to

raise awareness or deliver a message or when they

are. I they are urther down the line, you may want to

display appropriate messages and inormation that

will convert them to purchase.

Finally, i the viewer clicks through to a website, will

the creative or visual style clash? Does the creative

prepare them or the next step?

Is the creative single-minded?

Too oten creative ideas are simply lost by how

complicated they are. Concentrate on one element

and do it well.

Evaluating the media plan

The quality o an agency response to a brie is

intrinsically linked to the quality o the client brie and

the objectives. However, the brie does not need to

be the end o the clients involvement. Continuing the

dialogue as a media plan is developed can be very

productive. Most important o all, is that the client is






See Fig. 2.

Ads need to get noticed.

The bottom line is that you

are competing or attention.

Not just with other ads, but

with every other activity the

audience could be doing

online.

Ben Clapp,

creative director,

Tribal DDB


58/9256

single minded in their objectives and that these campaign objectives

become the yardstick or the assessment o the media plan and

indeed the whole communication strategy.

The agencys response should answer the brie by providing the

ollowing:

1. Communication strategy

This is where the agency should really be demonstrating an

understanding o the brie (the core business issue), the audience

and how the audience uses the medium. I the agency has this

insight they will be able to identiy a unique way by which to achieve

the objectives. This insight should be carried throughout the media

planning and application o the creative route.

2. Communication Plan

This provides the detail o how the agency intends to use the

budget.

The plan should include:

a. sites selected

b. prole (demographic, behavioural and attitudinal inormation)

c. placement e.g. news channeld. ormat e.g. banner

e. execution (creative)

. specications (or creative agency)

g. buy metric e.g. CPM, CPC, tenancy etc

h. rates (i disclosed)

i. quantiy (impressions)

j. total cost

Stage 8 Evaluating creative and media plans


RESPONSE

1. Communication

strategy

2. Media plan

3. Targets/expected

results

iab online marketing guide

Documents