[:en]Who needs TV advertising?[:sl]Kdo sploh še potrebuje TV oglase? [:]

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Od svojega nastanka je televizija za oglaševalce in za marketing nasploh pomenila zanesljivo, še več, nujno strategijo.

Danes obupno izgublja svoj marketinški sijaj. [:en]Ever since its beginnings, television has been seen as a reliable, even indispensable, strategy of marketing and advertising in general.

Today, however, it is losing its marketing flamboyance.

[:][:sl]Za gledalce so televizijski oglasi bolj ali manj le še nadloga, ki se ji je mogoče izogniti s preklopom na drug program oziroma kanal. Zaradi reklamne zasičenosti televizijskih gledalcev, še bolj pa zaradi naraščajoče neučinkovitosti televizijskega oglaševanja morajo oglaševalci (predvsem kreativci) iskati nove in nove, ustvarjalnejše načine oglaševanja. Nove oglaševalske tehnike so včasih tako subtilne, da se potrošniki niti ne zavedajo, da so žrtveoglaševanja. Drugačni mediji, drugačni načini, izogibanje frontalnim “napadomtradicionalnega marketinga – na pohodu je gverilsko oglaševanje. Namesto da potrošnika posiljuješ s svojim propagandnim sporočilom, sporočilo na drugačen način lansiraš v drugem mediju, pri potrošniku pa le vzbudiš zanimanje in ga napelješ k temu, da bo sporočilo poiskal sam.

Eden izmed najaktualnejših primerov je bavarski proizvajalec prestižnih avtomobilov BMW. Njegovi tržniki so ugotovili, da potrošniki porabijo veliko časa z ogledovanjem njihove domače spletne strani, preučujoč podrobnosti o avtomobilih, ki jih nameravajo kupiti. Smiselnost nadaljnjega oglaševanja na televiziji je postala zelo vprašljiva, zato so se pri BMW raje odločili, da ustvarijo serijo osemminutnih internetnih filmov. Poimenovali so jo Hire (Najem) in jo objavili na svoji spletni strani. Rezultat te poteze je bil osupljiv: ugled BMW se je strmo dvignil, angleški igralec Clive Owen (ki nastopa v vseh filmih) je postal zvezda v ZDA, oglaševalci pa so dobili nazoren primer učinkovitega indirektnega oglaševanja.

Še bolj je presenetljiv seznam režiserjev, ki so jih pri BMW najeli za kratke filme: Guy Ritchie (za zdaj še Madonnin mož), John Frankenheimer, John Woo, Ang Lee, Tony Scott in Alejandro Gonzales Inarritu. V vsakem filmu je Owen voznik, glavno vlogo pa ima seveda vozilo BMW. Tudi v Ritchijevi umetnini Star, v kateri igra Madonna sama sebe – v najbolj zoprni zvezdniški inačici. Filmi seveda kar tekmujejo v posnetkih divjih voženj, ki dajejo obilo priložnosti za prikaz vrhunskih zmogljivosti oglaševanega vozila.

Frankenheimerjev videoklip Ambush (Zaseda) je postal pravi internetni hit po vsem svetu. Govori se celo, da je neka ameriška kabelska televizija odkupila filme BMW, da jih je lahko predvajala. Gre torej za popoln obrat iz časov, ko so morali oglaševalci plačevati televizijskim postajam za predvajanje oglasov. Na ta način se BMW ni le izognil astronomskim stroškom predvajanja televizijskih oglasov, ampak bi s produkcijo relativno cenenih filmov na koncu lahko celo zaslužil. Primer BMW tudi dokazuje, da dovolj veliko povpraševanje potrošnikov povzroči, da sami poiščejo oglaševanje. To pa je marketinški sen.

Na letošnjem canskem oglasnem festivalu je kampanja za HBO osvojila kar devet levov: za zunanje oglaševanje, oblikovanje, spletno oglaševanje, film in v medijski kategoriji. S svojim sloganom “Ni televizija. Je HBO”, so naravnost in elegantno povedali gledalcem, da kabelska postaja ponuja boljše in zabavnejše vsebine od televizijskih mrež. Za vizualno upodobitev so si v HBO zamislili odprto stavbo, ki razkriva življenje ljudi v njej. Voajerizem, ki se mu ni mogoče upreti. Enega iz serije klipov (posnetega s statično kamero) so projicirali na zunanji zid štirinadstropne stavbe v New Yorku: gledalcem je ustvarjal vtis, da opazujejo dogajanje v zgradbi, nekaj prepovedanega. Kampanja HBO je vzbudila ogromno zanimanja, dnevni pogovori so se začenjali z vprašanjem: “Si videl voajerski oglas HBO?”

Tretji gverilski oglas, ki je vzbudil veliko pozornosti, je nastal v sodelovanju belgijskega radia Studio Bruselj in tamkajšnjega Rdečega križa. V oglasu nastopa temnopolti deček, ki sredi pogovorne oddaje priteče v studio, vzame z mizice kozarec vode in jo spije. Oglas se konča s sporočilom, da zaradi pomanjkanja pitne vode vsakih petnajst sekund umre en otrok. Šest dni po predvajanju oglasa so zbrali že 3,35 milijona evrov. Žejni temnopolti deček je verjetno najučinkovitejša družbeno odgovorna kampanja doslej.Veliko povpraševanje med potrošniki povzroči, da sami poiščejo oglaševanje. To pa je marketinški sen.

Avtor: Nace Marinšek, InDirekt

POZOR! Ni ga čez zelo čustven oglas, ki imamo zelo veliko moč, saj se ga celo posreduje naprej. Poglejte si primer spodaj!

[:en]Today’s television adverts have come to be seen as a nuisance for viewers – a nuisance that can be simply avoided by turning to another channel. Since television viewers are fed up with commercials and, to an even greater extent, because of the increasing inefficiency of advertising on television, advertisers and, above all, creative experts have to find new, more creative advertising strategies. New advertising techniques are sometimes so subtle that consumers are not even aware they have become the “victims” of advertising. Alternative media, alternative methods, avoiding “frontal attacks” of traditional marketing – all these are typical of the recently expanded movement of guerrilla advertising. Instead of confronting the consumer with an advertising message, guerrilla advertising is promoted through alternative media which aim to increase interest in consumers and encourage them to find the message themselves.

One recent example of guerrilla advertising is a campaign launched by the Bavarian manufacturer of a prestigious car brand – BMW. The BMW salespeople found out that consumers spent a lot of time viewing their website where they explored details about BMW cars they intended to buy. The advantages of further advertising on television has become questionable, therefore BMW decided to create a series of 8-minute internet films. This series of films was named Hire and was published on their website. The result of this advertising move was astounding as it rapidly improved BMW’s reputation. British actor Clive Owen, who appears in every film, became a star in USA, and the advertisers were able to see a clear and effective example of indirect advertising.

What is even more surprising is the list of directors hired by BMW for making the short films: Guy Ritchie – for the time being, still Madonna’s husband; John Frankenheimer; John Woo; Ang Lee; Tony Scott and Alejandro Gonzales Inarritu. In every movie in the series, Owen plays a driver, while the leading role is, of course, taken by the BMW vehicle. And that goes even for Ritchie’s work of art entitled Star, where Madonna appears as an annoying diva version of herself. Naturally, the films are all about fast driving, which offers ample opportunities for showing off the premier capacities of the advertised vehicle.

Frankenheimer’s video clip called Ambush has become an Internet hit all over the world. Rumour has it that a German cable TV station even bought the rights to be able to broadcast the BMW films. To sum up, this is an example of a perfect twist in the former situation where advertisers had to pay TV stations to broadcast their commercials. This way BMW not only avoided the enormous costs of TV advertisements, but could, in the end, also make a profit through the production of cheap films. Moreover, the BMW example shows that if the market inquiries in  a product or service  are strong enough, the consumers will find advertisements by themselves. And that is what the marketing dream is all about.

At this year’s Cannes Lions International Advertising Festival, the HBO campaign won nine Lions including: outdoor advertising, design, Internet advertising, film and media category. Their slogan “It’s not TV. It’s HBO.” sends an elegant and straightforward message to viewers, saying that their cable TV station offers better and more entertaining content than TV networks. For their visual image, the HBO used an open building, which reveals people’s lives that usually go on behind closed doors. Voyeurism is hard to resist. One of the series of clips (taken by a static camera) was projected onto the outer wall of a four-storey building in New York: the viewers were watching what was happening in the building and had a feeling they were doing something that would normally not be socially acceptable. The HBO campaign triggered extensive general interest and daily conversations were started with the sentence: “Did you see the HBO voyeur ad?”

A third guerrilla advertisement that attracted extensive attention was created by cooperation between a Belgian radio station called Studio Brussels and the Belgian Red Cross. The ad shows a black boy who runs into a studio in the middle of a talk show and drinks a glass of water after taking it off a coffee table. The advertisement ends with a message saying that every 15 seconds a child dies due to lack of drinking water. Six days after the advertisement was broadcast, 3.35 million euro had been raised by the campaign. The thirsty black boy represented what was probably the most effective socially-responsible campaign so far.

Author: Nace Marinšek, InDirekt

Attention! Watch ad that does not leave you indifferent.

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