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Freshen your existing DRTV spot with new edit, music and v/o – Example 3 September 2, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Production, Uncategorized.
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Sometimes you don’t need to shoot a new DRTV spot. Turn your script upside down, scramble the footage, add new graphics, music and a different announcer… and you have a brand new spot. Check out how we did this for KOGA Fitness:



Freshen your existing DRTV spot with new edit, music and v/o – Example 2 September 2, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Production.
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Sometimes you don’t need to shoot a new DRTV spot. Turn your script upside down, scramble the footage, add new graphics, music and a different announcer… and you have a brand new spot. Check out how we did this for Fridge Buddy:



Freshen your existing DRTV spot with new edit, music and v/o – Example 1 September 2, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Production.
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Sometimes you don’t need to shoot a new DRTV spot. Turn your script upside down, scramble the footage, add new graphics, music and a different announcer… and you have a brand new spot. Check out how we did this for AB Flexer:



Why Kodak Is Using DRTV in Addition to Brand Advertising August 28, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Production.
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The phrase “As seen on TV” might bring to mind Snuggie, ShamWow and PedEgg but probably not a venerable American brand that invites you to share the most important moments of your life.

Yet for Kodak, direct-response TV has become an effective and preferred way to reach consumers in the year and a half that the company has used it.

“It’s become one of the main tools we deploy,” said Jeffrey Hayzlett, Kodak’s chief marketing officer, who added that DRTV is now the “second-best medium that we use to reach our customers.” (He declined to name the first.)

Short- and long-form infomercials for Kodak printers, which last two minutes and nearly a half-hour, respectively, focus on the value message Kodak uses in its traditional brand advertising for its printer and low-priced ink cartridges. However, the ads also spell out specific savings, provide testimonials and examples, and even include the tone of a more typical infomercial. A short-form spot that began running a few weeks ago opens with the line “Are you sick of paying ridiculous prices for printer ink?”

Retail partners don’t mind the direct push, because at the end Kodak gives them a shout out, telling customers that if they can’t wait for a product to arrive in the mail, they should go to Target, Walmart, Best Buy or Staples, depending on where they live. Mr. Hayzlett said the informercials have a “very strong halo effect and strong lift at retail.”

Kodak first ran infomercials, created by Kaplan Thaler Group, in the first quarter of 2008, Mr. Hayzlett said, and executives pegged the sales increase after the first airing at 20%. Hosts have changed and creative has been reworked, but the call to action remains the same.

“When everybody else in the market is down some 20%, we’re up 44% in the market today on both equipment and ink, so that should tell you how well our campaigns are working and how the value proposition resonates,” Mr. Hayzlett said, adding that Kodak’s other agencies — Ogilvy & Mather, New York; Partners & Napier, Rochester, N.Y.; Deutsch, New York; and PR firm Ketchum — also worked on the campaign.

Steve Baker, an analyst at NPD Group, said the direct-response strategy makes sense for Kodak.

“With 30 printer SKUs on a shelf, six different brands and retailers who want seamless displays, it’s hard to stand out, especially with their very specific [value-pricing] message,” he said. “Talking directly to customers like that is not a bad idea.”

Mr. Baker said the move is reminiscent of Apple in 2001, when the company, believing its products were getting overlooked in the bustle of most retail stores, opened its own stores to showcase what its products could do. He noted that while Kodak’s retail printer market share is double what it was last year, it’s still fairly low, at about 3.5%.

“Even if I don’t pick up the phone and call and buy, if I go to Staples and see the printer on the shelf, I might have some recall,” Mr. Baker said. “I think it’s a cool idea and nice that someone is thinking about a different way to go to market.” This post originally appeared 8.27.09 on ADAGE Online. Posted by Beth Snyder Bulik.


Using stock footage in commercials and DRTV can save big money. August 28, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Production, Retail television commercial.
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If you are involved in creating and producing either DRTV or television commercials, you know how expensive shooting the content can be. The “shoot” can be 80% of the budget (or more) and can be a big number. For those times when budget won’t allow for shooting, consider using stock footage. Today, there are many fine resources for stock footage and we have purchased a considerable amount of it for the SPP library… and its just waiting to satisfy your needs. Check out this :30 television commercial for Eclipse Bank that we created and produced entirely out of stock footage.


In DRTV, tell the story. August 27, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Retail television commercial.
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storytimeThe late, great Don Hewitt made 60 Minutes an American institution and one of the country’s top rated television programs by doing something simple. He told stories, because people love a good story. Every product has one. The job is to find it and tell it in an arresting, memorable manner that engages our viewers, particularly in DRTV. It can’t be just any story. It has to be pertinent to the product and relevant to the viewer. Why does the product exist? What need does it serve? Why is that important to the viewer? Essential to every engaging story is heroism. The same is true with product stories. Does it defeat an everyday difficulty, solve an annoying problem, or make you happier, healthier, or more productive. Stories give people reasons to make products and brands part of their lives. They make it easier to say, “Yeah, I could use that.” Another happy ending.


Three rules of DRTV: demonstrate, demonstrate, demonstrate. August 27, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial, Retail television commercial.
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demoFor those of us who remember the civil rights movement and others, one strategy stands out in the fight to grab people’s attention…demonstrate, demonstrate, demonstrate. And when you’re done demonstrating, demonstrate again. Don’t be reticent to show your product in use, then show it again… especially in DRTV. Make it memorable. In fact, make the most memorable demonstrations you possibly can. Show how easy it is to use. Is it so easy a child can do it? Then show a child using it. Don’t just talk about it, use it. Get the camera in close so your viewers can see it working. Get your hands all over it, so your viewers feel familiar with it. Does it clean up a mess? Make a big, attention-riveting mess. And when you’re all done and you’ve asked for their business, show your viewers one more, totally unexpected, you guessed it…demonstration.


5 Questions to ask a DRTV production company. August 19, 2009

Posted by johnmathes in Advertising, DRTV Spots, Infomercial.
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slateThe production quality and professionalism of your DRTV spot (infomercial) is important to the sales success of your product.

Here are some questions to consider in choosing a broadcast production company:



1. Do you have specific DRTV experience?



2. How many years experience do you have in the DRTV field?

3. Do you utilize an experienced infomercial copywriter?



4. What DRTV commercials have you created and/or produced?

5. Are you a full-service broadcast production company offering holistic services from concept through edit?

A quality DRTV spot produced by experienced DRTV practitioners is a must-have ingredient for the success of your effort.


Here’s a trailer for a new movie… Art & Copy: August 19, 2009

Posted by johnmathes in Advertising.
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ART & COPY is a powerful new film about advertising and inspiration. Directed by Doug Pray (SURFWISE, SCRATCH, HYPE!), it reveals the work and wisdom of some of the most influential advertising creatives of our time — people who’ve profoundly impacted our culture, yet are virtually unknown outside their industry. Exploding forth from advertising’s “creative revolution” of the 1960s, these artists and writers all brought a surprisingly rebellious spirit to their work in a business more often associated with mediocrity or manipulation: George Lois, Mary Wells, Dan Wieden, Lee Clow, Hal Riney and others featured in ART & COPY were responsible for “Just Do It,” “I Love NY,” “Where’s the Beef?,” “Got Milk,” “Think Different,” and brilliant campaigns for everything from cars to presidents. They managed to grab the attention of millions and truly move them. Visually interwoven with their stories, TV satellites are launched, billboards are erected, and the social and cultural impact of their ads are brought to light in this dynamic exploration of art, commerce, and human emotion. Thanks to Luke Sullivan for pointing us to this trailer, which came from the Apple website. The movie is out in theaters August 21, 2009.



The Definition of 5 DRTV Media Terms You May Not Know August 11, 2009

Posted by johnmathes in Advertising, DRTV Media.
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dictionary You may be an experienced advertising and marketing practitioner but if you are relatively new to the DRTV world you may not be familiar with some of the more common terminology. Let’s run down a few in this post.

Back-end: Any product transactions occurring after the initial direct TV sale generated by an infomercial or long-form spot. Back-end sales of the DRTV product and related add-on products can be generated via inbound telemarketing, direct mail, continuity and club programs and catalogs. Back-end sales can account for 50 to 90% of all product sales. Retail sales are generally not considered “back-end”.

Continuity Program: This is a DRTV product purchasing program that encourages consumers to purchase the first in a series of products for a lower than normal price. Extensively used for music and book series. The CP is also deployed successfully for beauty, diet products and self-development products.

Cost Per Order (CPO): Refers to the television media cost to generate one product order. The figure is determined by taking the cost of a specific infomercial airing and dividing it by the number of orders received. A $1,000 spot that generates 100 product orders would have a CPO of $10.

Media Efficiency Ratio (MER): A common measurement, the MER is a snapshot of an infomercial’s overall success or failure. The ratio is derived by dividing the total sales from a flight or campaign by the media cost. For example, if you buy a half hour for $1,000 and generate $3000 in sales, MER is 3. Sales/Media Cost = MER.

Per Inquiry Fee: A broadcast schedule in which the advertiser does not pay a set amount to the station or network for the time. The advertiser pays a contracted amount for every call booked into the toll free number or website tied to the station/network. The more calls generated, the more the advertiser pays. It takes the market risk out of the media time, but typically there isn’t enough PI time available to support a campaign.

Per Order Fee: Same idea as PI, except the fee is calculated on the basis of orders instead of inquiries.

These are just a few of the terms used in DRTV media planning and buying and we’ll explore more in future posts.


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