Chapter 12 CREATIVE EXECUTION ON TELEVISION Chapter Takeaways After reading this chapter, you will be able to: n Learn about

the elements that go into the making of a television commercial, n Understand t he process of conceptualising and producing a television commercial. When executing advertising, it s best to think of yourself as an uninvited guest i n the living room of a prospect who has the magical power to make you disappear instantly. John O Toole The difference between a good commercial and a great comme rcial lies in how enjoyable the details are. Arvind Sharma A&SP Chap_12 (4th Proof).p65 In Perspective Titan Shifts Consumer Mindset Through Advertising1 The Indian watch-maker Titan s growth in the early 2000s was stunted since new buy ers were difficult to come by. A large majority of Indians considered watches a necessity, primarily useful only for time-telling. While people generally owned four pairs of shoes, changed their mobile phones every year, or upgraded their w ardrobes every few months, they exhibited a Brahmanical restraint when it came to buying watches. Only nine percent of watch users owned more than one watch and m ost consumers bought new watches only after seven years or so. This was not good news for Titan since foreign watch brands were wooing the consumers with option s but as the market was not expanding fast enough, Titan s share was corroding. 486 8/28/08, 1:03 PM

Chapter 12 Creative Execution on Television 487 FIGURE 12.1 (a - c) Titan’s ‘Whats your style’ Campaign changes people’s mindset. (a) Aamir is packing up Jeeves looks at him and asks... Sir... poora box le chaloon! Aamir says... nahi nahi, sab nahi... He continues... Sirf do din ke liye ja rahe hain bhai Jeeves looks at the box, a bit confused Toh...kaun si! Aamir says... Main dekhta hoon. He starts humming the Titan tune And picks two w atches to match his clothes The Titan tune also starts playing in the background But as Jeeves turns around, Aamir stops him, tempted to try the others And takes out some more watches A&SP Chap_12 (4th Proof).p65 487 8/28/08, 1:04 PM

488 Advertising and Promotions: An IMC Perspective FIGURE 12.1 (a) (Contd.) Still not satisfied, he reaches for the wardrobe And picks up some more clothes Aamir keeps on matching each watch to his clothes Till he finally tries all the watches He turns to Jeeves after finishing up Jeeves has to finally put the whole box for packing MVO: Titan. what s your styl e? Courtesy: Titan, O&M. Reproduced with permission. FIGURE 12.1 (b) Humming the Titan jingle, Aamir is dressing up when his assistant walks in. "Naya style." Aamir explains his new hairstyle to his secretary who with a gruff y, "Hmm." asks if they can leave. The actor stops him and asks, "...yeh kya pehna hai ?" The old man tells him, "S one ki ghadi hai sir, shaadi... ...pe ja rahe hain na." But the star dismisses it, saying, "Purana style." and t akes out his own collection. MVO: "Titan presents the new Gold and Steel collection." Wearing the star s watch, the assistant asks, "Ab to theek hai na sir?" A&SP Chap_12 (4th Proof).p65 488 8/28/08, 1:04 PM

 

 

. “maa ne kaha tha beta pad lo MBA. “par aap n aukri kyon dhoond rahe ho?” Showing a watch. "Ab theek hai" The puzzled assistant looks on. saying. A&SP Chap_12 (4th Proof). the actor replies.... Taking a false moustache.. O&M. What s your style?" Courtesy: Titan. Reproduced with permission. VO: “Titan presents Wall Street. He says. “Yeh kya hai ?” he asks.1 (b) (Contd.. sir!” As he settles down he sees his assistant hanging so mething on the wall.1 (c) The film opens on a cheerless Aamir Khan with his assistant. Nahin suni. “yeh dekh rahe ho? Titan Wall Street. . FIGURE 12. 1:04 PM   ..Chapter 12 Creative Execution on Television 489 FIGURE 12. The office staff greets..” Cut to Aamir entering his new o ffice with the assistant. MVO: "Titan.. The new work code.office jaane waalon ke liye..kar lo.. .” The assistant questions.him with “Good morning. Titan ka naya corporate collection." Hearing this the assistant advises him to conve rt their vacant room to an office. ab baithe hain yahan pe. Aamir sticks it on him.) But the creative artist is not convinced that everything is perfect..p65 489 8/28/08..

In 2004. What s your style. . Reproduced with permission To remedy this situation. Titan embarked on the Herculean task of changing peopl e s mindset to view watches as accessories adding to their style rather than as ut ility gadgets. O&M. The campaign was followed by more commercials. and his pretending of joining in Aamir s jubilance. 1:04 PM . added a touch of humour to the tale.. backed by an MVO reinforcing the super.1c). This led to an increase in the growth of high-end watches and helped Titan achieve a 45% growth in volumes and 52% in value.. In this chapter. with one featuring Aamir in a more hip look for the Titan Gold & Steel collection (F igure 12.1 (c) (Contd. Super: “Titan. To e ncourage consumers for a hedonistic flirting of options.1a). The commercial closed with the Titan logo and super. and so on. shown matching his watches with each of his outfits (Figure 12.1b). coordinating with Aamir s humming of the chords a chord each for every watch shown on the screen. The opening vignette talks about some of the elements that go into the making of a television commercial. It launched the What s Your Style campaign with the objective of incr easing the style-quotient of its watches and encouraging people to match their w atches with their look.for his assistant’s funny act. The commercial was set in the contemporary setting of an artistically done bedroom with a few memorabilia rem inding of films and studios.) The assistant replies.. The music in the background was the all-famous Titan jingl e that played one chord at a time. The commercial beautifully sy nchronised the Titan chords that were played in the same rhythm in which the wat ches were selected by Aamir. we ll discuss how a television commerci al (TVC) can be executed and A&SP Chap_12 (4th Proof). the first commerc ial in the campaign featured Aamir in his Mangal Pandey look. As per an independent survey.p65 490 8/28/08. The company s average sale price also increased by Rs 90.490 Advertising and Promotions: An IMC Perspective FIGURE 12. The commercial interwove close-up shots of the watches with shots of Aamir s jubilance as the watches were shown being matched w ith specific outfits. and thus ended up exhausting his entire watch co llection for only a two-day trip. clothing and accessories for a particular occasion. another with a new look of Aamir for the Titan Wallstreet corporat e collection (Figure 12. What’s your style” Courtesy: Titan. “MBA ki degree sir!” Aamir gets embarrassed. The commercial moved at a steady pace in the succeeding shots as Aamir was shown taking out more clothes just so he co uld match a watch to each pair. The campaign won its agency O&M a Gold i n the EFFIE 2005 awards. the brand signed on Bol lywood style-icon Aamir Khan as its brand ambassador. The secretary s bemused look on the emptying of the c ase of watches. around 85% of consumers w ho saw the commercials got the message of matching their watches with their clot hes. The 60-second commercial opene d with Aamir shown packing up for a trip..

amused. sound effect s and music. Courtesy: Superbrands. talking and moving w orld that can portray a product larger than life and instantly show how it can s olve consumers problems.p65 491 8/28/08. advertisers need to talk less. Television advertising is unquestionably the most influential and powerful of all conventi onal advertising media. By using film language to tell a story. a moving picture is worth a ten thousand words. Progression. facial expressions and body language can communicate a lot. Volume II. As discussed in t he chapter on radio. and so on. 12. frightened. Reproduced with permission. 12. Scenes. However. less narration or fewer dialogues A&SP Chap_12 (4th Proof).2 Airtel’s commercial weaves a story around music. as these elements accompany moving images. The com bination of both these elements makes television the most complex of all media. television can make people laugh. Though TVCs talk.1 AN INTRODUCTION TO TELEVISION Sight. Sound. If a picture is worth a thousand words. a c reative team focuses most of its attention on the video. For example.2 ELEMENTS OF TELEVISION Audio and video are the principal elements that go into executing a TVC. it s what we see that we remember the most. televis ion is the one which can most effectively demonstrate the difference between a g ood idea and an ordinary one. the audio elements of a commercial are voices. Since people can see. cry. the chapter introduces you to the basics of conceptualising and producin g a commercial. camera movement s. television can create a walking. Emotion. Television offers it all. While filming a commercial is an art that can best be learnt only on t he job. Moving images can move people s hearts. Many advertisers also believe that of all media. 2006. Hence. angry. Motion.Chapter 12 Creative Execution on Television 491 FIGURE 12. Video is the language of film and television is the only mainstream medium that allows an advertiser to use pictures in motion to convey a message. 1:04 PM . they are employ ed differently. produced. sing and make sounds.

which he transmitted directly to h is recording artist through his Airtel cell. 1:04 PM . He immediately fetched his Airtel served cell phone. He sought their help in playing his composition. Or the ting ting ti ti ng. When he was through with the transm ission. Rehman and his companion walking out of the a irport when they came across a child playing the harmonica. Print o r supers can be superimposed on images or plain backgrounds when a message needs t o be communicated silently or important points need to be conveyed.. he came across a street band giving a concert. she should still be able to grasp the message or product benefits from the audio alone.p65 492 8/28/08. or the like. signature tune instantly reminds us of Britannia. For example. if the audio t lks about the price benefit of the product and where it is available. In stead of using the oftchosen movie or sport celebrities. Effective commercials leverage the audio and video elements of television to cre ate synergy since both sounds and visuals go hand-in-hand. 600 million people. fetched a flautist and a percussionist and kept on adding music to the base tune with the help of vari ous musicians he met. In a perfectly synergistic com mercial. One mobile service. reached for his harmonica and started composing music (Figur e 12. This is not to say that exceptions ca nnot make a good ad. Instead. the machine spinning the clothes gently. or act as a sonic brand.492 Advertising and Promotions: An IMC Perspective need to be added as much of the communication can be done with the visual story. L ikewise. For example. R. Lastly. Nestle coffee or Titan watches cat chy jingles and soundtracks or the hummable Close Up jingle Kya Aap Close Up Kart e Hain often linger in our minds long after we see the ads. Rehman on his way back.2). gentle wash mechanism and thorough dirt removal . even if she were not in the room or were watching the commercial on mut e while attending to a phone call. R. The boy th en left the concert playing Rehman s tune. the written word can also be a part of the television commercial. the clothes comin g out clean. Rehman saw the same kid for whom he started playing the tune. Music used in TVCs helps in bringing alive the personality. even if a viewer were to turn down the volume of the commercial. A catch y and apt sound track can get so well associated with the brand that it becomes the identity of the brand itself. in the boss-bashing A&SP Chap_12 (4th Proof). a washin g machine commercial may show a smiling lady confidently emptying a pile of clot hes into the machine. The recording artist was stirred and as ked Rehman to improvise the tune. In addition to video and audio. Audio may be used to explain the adva ntages of owning the washing machine and the audio script may include words like large size. in a bid to make the kid happy. the background music and jingle Hoodibabaa used for Bajaj s Caliber 115 seems to offer one a ride. The ad closed with the super. Airtel chose one of the most successful music composers of the country. it would d istort the visual message and confuse the viewer. but non-synergistic commercials have to be exceptionally go od to make the same impact as synergistic commercials. A. Television is also an effective platform to us e music to support a visual idea. and the lady looking pleased.. she sh ould be able to identify the benefits of product purchase just from the video. character or mood of the product. Rehman for the commercial . The commercial opened with A. Rehman. While he was at it. The power of music is so immense that one of the Airtel s commercials weaves a sto ry on how its musical score was created and uses music to position its brand. called up his recording artist and played the composition again. 16 states. Recently. For example. he realised that the composition had turned out wel l. facial expressions.

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Reproduced with permission. the super Guess who s just heard fro m us? strategically shows up on the screen after the heroic employee spells out h is boss name.p65 493 8/28/08.1). The super s impact is enhanced with background sound-notes that sugge st that something unexpected just happened.Chapter 12 Creative Execution on Television 493 Hari Sadu commercial of Naukri. 1:04 PM .3 Daikin curtails noise levels of its air conditioners. Through the steps. A&SP Chap_12 (4th Proof). 12.com (Figure 9.3 MAKING A TELEVISION COMMERCIAL Creating a TVC involves many steps right from conceiving a commercial to produci ng it. FIGURE 12. Courtesy: Daikin. and there may be multiple agencies. we ll discuss Daikin air conditioners Complete Silence campaign to understand how it could have been cr eated. such as the advertising agency and th e production house. sharing the processes.

For example.1 The Process 1. 2 12. As a result of its campaign. which canno t be heard at all). 1:04 PM . and the objective of t he television campaign.3) . 35 million as compared to the market leader LG Electronics Rs. The big idea was to ar ticulate and exaggerate the concept of pin-drop silence and show that even sounds of insects. the first man is surpri sed to see his partner wide awake and reading a magazine while the snores are st ill heard. We show the first man trying to find the source of the snores and loo king back to trace it. Review the creative brief: Before you start. in 10 to 60 seconds you ll barely have the time to deliver more than the si ngle central message. The Rs. But then who said that advertising can be practiced without a cre ative shift? In the above example where you want to depict the big idea that eve n sounds made by insects are audible when it s Daikin-silence. write a scenari o that completes the story or takes it to its logical conclusion. 2. 3. A while later. it is imperative to review the c reative brief to understand the communication background.p65 494 8/28/08. Daikin was ranked number one in terms of value. T he brand captured 50 % of the premium split market. what images come to your mind? Hearing the conversation of ants? Of cockroaches fighting with their whiskers? Eavesdropping on what houseflies are talking about? Sleeping people g etting disturbed by the sound of snoring spiders? Let your imagination go for a visual flight. Think pictures: On t elevision. nothing less. can be heard when it s Daikin-silence. We show the first man waking up and getting annoyed at the second sleeping man on hearing loud snores. which cannot be heard in the normal hullabaloo (in fact. Thinking in pictures might seem a bit difficult at first because our thought processes are mostly verbal. Be sides. The agency decided to target the mature end of the market bullshit haters with the proposition of complete silence to signi y the cutting-edge technology of the brand. The budget given to the agency Rediffusion DY&R was R s. Daikin air conditioners used a series of comm ercials to convey the message that Daikin works silently. But he then gulps down his irritation and tries to g o back to sleep as the snoring continues.3. Nothing more. If creative professionals begin with the script or words first. the commercial ends up looking like a radio commercial with some images thrown in. visuals take over the words. The above stor y ideas can be narrated as follows: We open with two men taking a snooze on a co uch. We immediately show the close-up of a spider slithering a cross its web. 20 billion air conditioning mar ket had more than 20 heavyweight brands in addition to the unorganised sector th at had a 25% market share. Use narrative: Now taking the visuals forward. Advertisers need to think in terms of im ages to tell a story and then use words as the natural consequence of these imag es. Pay particular attention to the big idea since it is imp erative to deliver the key message and just that. 120 million and the category spend of Rs. This was also in consonance with the brand s superior performance in curtailing the machines noise-levels (Figure 12.494 Advertising and Promotions: An IMC Perspective Case in Point DAIKIN: COMPLETE SILENCE The Japanese air conditioner manufacturer Daikin wanted a 15% market share of th e Indian air conditioning market in the first year of its launch in 2003 althoug h the product was priced at 65% premium. implying that A&SP Chap_12 (4th Proof). 750 million.

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We end the comm ercial with a voiceover. We s how a close-up of the ants. hinting that the mysterious mal e voice is actually one of them. which are written on the top left corner. 1:04 PM . A script begins with the name of the brand. we open with a woman browsing through a magazine in a dimly lit room. she ret urns to the silence of the room. We conclude with the male fly trying to woo and propose the female fly and the female fly snapping back at him. t he running time of the commercial. Try tellin g the story in pictures only and be parsimonious with words. Ensure that the opening shot is highly commanding and that it captivates the attention of the audience. who is behind the camera. For example. is an audio feature in whi ch an announcer. super and close-up of Daikin air condi tioners. and visual shots for a film or commercial. super and close-up of Daikin air conditioners. It guides t he actors. a script is divided into two sections on the left. directors. and waits for the door to open. We open with a lady preening before a mirror. We end the commercial with a voiceover. hoping the footfalls to be of the person she s expect ing. acting instructions. and others involved in the film ing of a commercial. A mysterious male voice that seems to be talking to her is heard praising her bea uty and sensual eyes. Voiceover. 4. only to find the corridor e mpty. A&SP Chap_12 (4th Proof). The only sound heard is that of the outside traffic. But again she hears the loud sound of footsteps . sou nds.Chapter 12 Creative Execution on Television 495 the snores were that of the spider. As you r ead the Daikin script given below (Table 12. sound artists. and on the right. In anoth er TVC. the audio instruct ions or comments. Usually advertisers follow a standard nomenclature for scri pt-writing. :30 stands for 30 seconds. But the boots seem to thump across the corr idor. The lady is enjoying the admiration when suddenly the male voice starts commending her hairy legs. write down the abbreviations tha t you don t understand. supe r and close-up of Daikin air conditioners. Words should be add ed only to support the visuals. Su ddenly her attention is caught by the sound of footfall. Ce rtain customary abbreviations are used in scripts.1). describes the act on screen. Write a script: A script is a blueprint comprising of dialogues. Audio-video instructions are written in capitals whe reas the spoken part (dialogues and voiceovers) are written in sentence case. the video instructions or comments are written. implying that the sound is that of the parading ants . Those are camera moves or editing jargons that we ll discuss in a later section. She hurries up to the other end of the room and parts the curtains. We show the lady shocked to hear this and immediately after a close-up shot of two flies. camera men. SFX stands for sou nd effects or music. Note that the script is brief and to-the-poin t and pays more attention to what the audience sees than what it hears. She listens attentively putting her magazine aside. Disappointed. Following is the narrative for two mo re Daikin ads on the same lines. and the effects are underlined to differentiate them from d ialogues or voiceovers. The closing should reinforce the ma in idea and the product should be featured in or near the final shot. She finall y spots the source of footsteps an army of ants marching across the window. We end the commercial with a voiceover. MVO stan ds for male voiceover and FVO for female voiceover. She rushes to the door and opens it longingly. and the length and name of the commercial. the sce nes are written chronology. abbreviated as VO. Accordingly.p65 495 8/28/08. Next.

and can be shot in 30 seconds. MS ONE MAN TURNING WITH A DISGUSTED FACE TOWARDS HIS COMPANION. SFX: SNORING STILL CONTINUES. CUT TO THE SHOT OF A DAIKIN AIR CONDITIONER WITH BRAND LOGO. LS FIRST MAN SETTLING BACK. depicted sequentially frame by frame. and combined with audio-video elements (Figure 12.p65 496 8/28/08. the script takes the story forward. since image s are static and cannot show motion.4). 1:04 PM . cha ngeovers or essential moments. Keep the nu mber of frames to a minimal. The good thing about sketching images in a storyboar d is that one doesn t need to be an artist. Once the script is ready. However. Prepare a storyb oard: While a script tells the story using words. the storyboar d should give an idea of what s happening and not leave out important actions. MS THE OTH ER MAN SLEEPING SOUNDLY. However. CUT TO TH E SHOT OF A SPIDER SLITHERING ACROSS ITS WEB. Does it convey t he big idea or does the brand get overshadowed by the story? 5. SUPER ‘COMPLETE SILENCE’ AND SYMBOL OF ‘MUTE SOUND’. CUT TO LS FIRST MAN W AKING UP AND SURPRISED TO SEE THE SECOND MAN AWAKE AND READING A MAGAZINE. LS TWO MEN RELAXING ON COUCH. 2. The audi o only calls for a snoring sound.1 Daikin Air Conditioners : 30 TV “Spider” 1. the storyboard is prepared to pre-visua lise the motion commercial. or be accompanied by audio-video directions. a storyboard does it through s elected illustrations or images. ANNCR (MVO): Daikin Air Conditioners. A&SP Chap_12 (4th Proof). 6. provides continuity. the images may be arranged on the left and the audio-video directions on the right. The closing shots. shot by shot. Before moving to the next stage. A storyboard can be standalone indicating only the flow of visuals. It is only an elementary sketch to dep ict how the visuals are flowing. Written directions describe the accompanying image and indicate the action. makes log ical sense. 5. sometimes camera moves and the mov ement of things can be indicated using arrows or such other symbols. Complete silence. making the viewers curious about what will hap pen next. LS FIRST MAN LOOKS AT A WALL FROM WHERE THE SOUND SEEMS TO BE COMING. NO OTHER SOUNDS. conclude the big idea by pointing to the product. SFX: LOUD AND CONTINUOUS SNORING THROUGHOUT. or the images on the top and the directions underneath them. after revealing the secret of the snores. 3.496 Advertising and Promotions: An IMC Perspective Table 12. 8. It is a graphic organiser of a series of action s. In the example above. it is important to proof the script and check if it clearly tells the story. In the latter format. 7. 4. so as not to confuse the director six to eight is a m anageable size for the length of a television commercial.

4 A hand drawn storyboard for the Daikin commercial.p65 497 8/28/08. 1:04 PM . A&SP Chap_12 (4th Proof). Architect and Interior Designer. Illustrations: Rishit Shroff.Chapter 12 Creative Execution on Television 497 FIGURE 12.

498 Advertising and Promotions: An IMC Perspective When there are many frames to indicate a single scene. 6. but for documentation purposes. Get the commercial produced: Produ ction involves the actual filming or shooting of a commercial. The right sets and locations used enhance the mood and character of the commercial. in a parking lot. The monochromatic dimly-lit room in the sp ider commercial is a perfect setting that encourages people to doze off. Usually 32 frames are passed before t he eye in a single second in a high-quality animated film. The director will get the idea and then use her creativity to shoot those sc enes. The number of scenes in a commercial determines its speed. product samples required to be shown. on a b ed. They comprise of several shots that are taken from varied angl es. It could be a constructed studio set or an outside location such as someon e s real house or a garden in the city. Many agencies do not have an in-house production house and they take the services of external pro duction houses. Advertising agencies pass them the storyboard along with detaile d production notes that lay out details like the prime idea of the commercial. A&SP Chap_12 (4th Proof). Commercial s can be shot on film or videotape. it is important to ensure that the product is afforded enough visibility in terms of time and proximity to the camera. casting preferences.p65 498 8/28/08. and now even DVDs. Also. with the latter being more popular due to su perior picture quality. with snaps from the commercial. if the opening scene of a commercial is to show a couple visiting various landmarks of Rajasthan. Like the storyboard. choice of locations or wardrobe. prepare a moodboard for t hat frame. Advertisers can record images like cartoon figures on film. In Hindi movies. While the storyboard provides a quick pictorial snapshot of the story to t he client and other agency teammates. A photoboard is not meant for the production staff. can be prepared after a commercial is actually shot. Following are some of the key product ion issues to consider: ∑ Number of scenes and shots: Scenes are pieces of action that occur at a single place or location (in a kitchen. ∑ Setting: A setting is the place where a scene is shot. there is only one primary scene showing two people on a couch. th e minimalist setting of the sparsely furnished room in the commercial keeps the attention focused on the story. and the possibility of digital editing. The technique of animation is also becoming widely prevalent and many commercials ar e entirely animated. the producer produces the commercial. t he strategy behind it. are fast closing the gap with quality improvements. etc. 1:04 PM . In the production pha se. spe cial effects needed. videotapes. lavish bungalows and foreign locales are a must these days. in a garden). a photoboard of the commercial. Check out the photoboa rds for the Daikin ads in Figures 12. In the Daikin spider commercial. There are between four and six scenes in an average-paced 30-second commercial and many more in a fast-paced one. one frame at a time. For example. However. the script contains more detailed producti on information to guide the director and others involved in the production. prepare a moodboard for that frame wit h cuttings of various landmarks of Rajasthan and a couple somewhere in the pictu re.5a-c. Small changes from frame-to-frame create the illusion of m otion when speedily passed before the eye. In consultation with the client and the agency.

5 (a . A&SP Chap_12 (4th Proof).p65 499 8/28/08.c) Photoboards of Daikin commercials that communicate the proposition of ‘Complete Si lence’. 1:04 PM .Chapter 12 Creative Execution on Television 499 FIGURE 12.

p65 500 8/28/08.500 Advertising and Promotions: An IMC Perspective FIGURE 12.5 (c) (Contd.5 (b) FIGURE 12. 1:04 PM .) A&SP Chap_12 (4th Proof).

15. Reproduced with permission. and shot in a way that after a few weeks of airing. Talent for casting is ob tained from talent agencies.) Courtesy: Daikin. Awareness-generating ads or commercials for new products ar e usually longer in length compared to reminder ads. 30 and 60 second slots. Often narrators are used in a commerc ial as off-camera talent. i. 1:04 PM .p65 501 8/28/08. spokespersons. or offscreen roles like thos e of off-screen announcers and characters. Casting needs to consider both on-camera and off-camera talents. There could be on-screen roles like that of ch aracters. ∑ Length: Most networks give time for 10.5 (c) (Contd. Most commercials are usuall y 30 seconds in length. for lending their voice. on-screen announcers. etc. can be tailored to 10 or 15 seconds.17) would have been the same without him? A&SP Chap_12 (4th Proof). ∑ Casting: Casting decisions involve designating the right actor for each role in the commercial. Do you think the Domino s pizza ad starring Paresh Ra wal (Figure 9.e.Chapter 12 Creative Execution on Television 501 FIGURE 12. Infomercials may be even longer.

the flow of action across sce nes. The shooting could take place only over a couple of hours a day as only in that time-band would all the eight pups be awake. Costumes could depict the personality of characters. they looked away when held. To depict the busy lifestyles of its consumers. Support props help setting a scene or furthering the story. were se lected for the more emotional moments. walking to a refrigerator. grey hair or silky hair. etc. The pups were able to open their eyes only after four weeks. For example. Various fac tors go into shaping this look dominant color scheme.p65 502 8/28/08. ∑ Props: Props are things that are used in a commercial. Ther e are certain objects that are almost mandatory in a commercial. and the Vanilla Coke bottle and can. ∑ Lighting: This decision usually falls in the director s domain. licked him all over. A good commercial will reflect the core features of a product its p ackage from various angles. The other problem with the pups was that not all of them looked the model in the eye. 1:04 PM . the gleaming reflection of light on a model s hair after she washes with the advertiser s shampoo. Make-up is important to depict. Choosing the key props is not a random decision. and nestled in his arm. ∑ Art decisions: Art decisions fall within the purview of art dir ectors who are responsible for determining the look of a commercial. say ski n problems or glowing skin. they are also an important execu tion decision. The commercial showed pups running towards the male model as they would to a mother . etc. For example. shot over two d ays. pr oduct props. etc. fo r example. but certain special instructions might be specified in the script itself if they are critic al in a story.3 (Refer to the Raymond ad in Chapter 9. their cultur e. after whi ch they were trained to respond to calls. The Vanilla Coke commercial used a radio. For example. the weather or time of the year. A&SP Chap_12 (4th Proof).com to add more char acter to the roles played by the employee and his employer. lighting played a spec ial role in the filming of the Hari Sadu commercial of Naukri. one can devote as less as five seconds or as much as ten seconds to depict a man getting up from a couch. The advent of computer graphics and special effects has increased the number of options at hand. old-style t hick-rimmed glasses. used sixweek-old Golden Retriever pups. as so me of the props. design of objects used in the commercial like furniture and household items. show short clips of actors engaged in different activities. As indicated in the opening vignette of Chapter 9. peop le using it. as they did when they ran to the model in the ad.502 Advertising and Promotions: An IMC Perspective Casting can often involve actors other than humans. the flickering of light on people s faces when a bulb is fusing out. etc are special instructions that are crucial to t he ad. only a couple of pups. ads of many products such a s face-washes. The ad. So. deodorants. etc. the Elvis Presley-cum-Shammi Kapoor look of Vivek Oberoi in the Vanilla Coke ads was crea ted to establish a retro positioning for the brand. logo. dinner table in a set showing a family eating. or a toy with which an aimless child is playing. graphic elements like super and logo that appear on screen. In an interview to Agencyfaq s! Filmmaker Rajiv Menon talks about a Raymond commercial shot with puppies. to represent the softer side of the macho Raymond man. etc. enlarged size to depict certain features. ∑ Pacing: The pace of an action describes how slow or fast it happens on screen. a Lamby scooter. setting the commercial at a fast pace. which l ooked the model in the eye.) ∑ Costumes and make-up: Trivial as they may seem. opening it and taking out an ice-cr eam. For example.

The camera does not change angle but moves right or left to follow th e action. If the commercial is to be shot over several da ys. while physically remaining at one place. Dolly in or out. For example. Camera movements Zooming in indicates moving towards the image making it seem closer and larger. While in MS it is possible to identify the location to a cert ain extent. The focus is on only one image and more on emotions than on action. Commercials opening with LS tell viewers where the scene is taking place. directors can purposefully hide the location until later for an el ement of surprise. Here you get as close as you can without blurring the image. The editor then selects t he Table 12. i n this case the camera. For example. it i s clear in the ‘Hari Sadu’ commercial that the action is happening in the boss’ chambe r. but look up or down at the action. For example. etc. turns to the right or left to follow t he action.5b) shows MS of a lady preening before a mirror. 7. etc. In this shot. It gives a broad coverage of the area indicati ng the location of a scene – in a garden. the ‘Fly’ commercial of Daikin (Figure 12. For example. The lens on the camera maneuvers this change in distance. or editor s cuts are first-round edited versions of the story. only one image fills the scene – the close-up of a face or a product. Medium shot (MS) Close-up (CU) Extreme Close-up (ECU) Zoom in or out Dolly in or out Pan right or left Truck right or left Tilt up or down A&SP Chap_12 (4th Proof). the purpose is not to give viewers a placement or directional sense but to focus on the image with a little background shown around it. editing may also begin along with the shooting of a commercial on a daily ba sis. the Daikin ‘Ants’ commercial uses a close-up shot of the lady’s face to depict her anticipation when she hears the footfalls. and not the lens. Sometimes. in the study. It is a good shot to show product and package details or emphasise upo n facial expressions because there are no background intrusions. However. the camera. While thro ugh zooming only the image gets closer or farther. rather it goes through various stages.2 briefly explains some film produ ction jargon. In this shot. Editing is not a one step process.Chapter 12 Creative Execution on Television 503 ∑ Camera shots. in this shot the distance from camera to the image is extensive. also involves moving towards and away from an image. moves & Transitions Camera shots Long shot (LS) As the name implies. a Kwality Walls commercial shows ECU of a man’s mo uth biting into the ice-cream with a view to tempt the viewers. with wide lens helping to zoom out and tele lens helping to zoom in. rough cuts. R ushes. moves and transitions: Table 12.2 Camera Shots. ECU is used to show specific details like parts of a face. like zoom in or out. marks or logo on a product. through dollying one can get the feeling of walking towards or away from the image. They are compiled from cuts of the raw film recording.p65 503 . The camera does move from its place like in a pan. Post-production work/Editing: Much of the work for a commercial happens after the actual shoot. wheels forward or backward. while zooming out indicates moving away from the image making it seem farther a nd smaller. in a lab.

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a camera may show an aerial shot of a town. Camera takes the point of view of a character i n the scene. one image inch es across the screen as a bar and pushes the other one off. You can almost hear the accompanying audio translation. In the next shot. As the balloon rises. Action Maneuvering A scene is stopped in mid-action so t hat the audience can have a proper look at something special that is being shown . producing the effect of motion when the series of frames is played back at normal speed.” Shot transitions A cut is an abrupt transition from one shot to another. For exa mple. where each frame is recorded one at a time and passed befo re the eye speedily to create a sense of motion. leading to a blackout. The wipe is not a ve ry popular way of showing shot transitions since it distracts the eye. It refers to frame-by-frame shoo ting by which static objects appear to move. It increases the number of fram es used to record a movement. Characters do not look directly into the lens. A lap dissolve is a slow dissolve in which the fading in and fading out images overlap. However. was a dark dungeon where a beautiful princess was imprisoned. who discovers it and hides it undern eath Tom’s bottom in a Tom & Jerry cartoon. Alternatively. In this move. It would feel like going up in a hot air balloon while keeping your gaze fixated at a fa rmer working in a field. Dissolv e is not just soft on the eye but can also help go fast forward in time. like other shot transitions. and the n the entire city at a time. The object is moved by very small a mounts between individually photographed frames. You see more fields and more farmers. the camera would receive a punch in the eye. It can then show a CU of th e advertiser’s digestive pill being plopped in water. For instance.504 Advertising and Promotions: An IMC Perspective In this move. Next. Tom plants a bomb for Jerry. the farmer becomes smaller and th e background becomes more visible. “Once upon a time in a far away land. thereby slowing down an action. it is pertinent that the two adjacent shots mak e visual sense together. Ever wondered how hero-heroines are shown running in slow motion towards each other in Hindi movie songs? Boom or crane shot Cut Dissolve Wipe Objective Subjective Freeze frame Stop motion . the bomb explodes an d a burnt-out Tom is shown frozen in time for about two to three seconds till th e next shot cuts to Jerry fleeing at top speed. establishing the smallness or inconsequence of the farmer in the world. swoop closer to a castle by the river. A cut. For example. and go yet closer to zoom in on one dark room in the castle where a princess has been taken prisoner. Stop motion is also us ed to film animation. In the castle. one image fades to blac k while the other image emerges and takes over the original one. a commercial can begin by showing an actor eating from a plate full of foo d and then dissolve to show his plate scraped clean. the entire camera lunges upward or downward over a scene. hands would jut out from the sides of the camera and grab the villain by the neck. was a c astle by the river. Camera po int of view Camera records action from the viewer’s point of view who is not invol ved in the action and witnesses the scene as an invisible entity. In this softer transition move. can carry the story from one action to another in no time.

1:04 PM .Slow motion A&SP Chap_12 (4th Proof).p65 504 8/28/08.

Reverse motion Eye-level High-angle shot Low-angle shot best shots and brings them together to create a scene. A&SP Chap_12 (4th Proof). viewers see it as t hey would from their physical heights.p65 505 8/28/08. Usually audio follows video and dialogues are recorded after the scene has been acted out. An editor can show th is for a full one minute if he wishes. However. and sets th e rhythm and pace of a commercial. cut to him shooting the Brahmastra. the sce nes are joined together to create an interlock. he can condense time and increas e the pace of a commercial by showing a woman getting up early. then mus ic is recorded before the shoot and filming is done to the song. in the movie Bourne ultimatum. but a creative art through which an ed itor can rewrite and redirect an entire story. For example. as well as hide imperfections in shooting. The picture is run backwards through the projector. dissolving to her finishing up a nd leaving. An editor works with layers of images. Shots may be taken in a piecemeal manner over a long period of time. Camera looks down on the action allowing audience a bird’s eye view of the scene. In the next step. cutting to her working in office. a lotus blooming. Camera angle Camer a presents the action from the eye-level of the lens. Camera looks up at an acti on giving it more focus and importance. An editor can also jumble time by cutting fro m the present into a nostalgic event from the past or flashing forward into time to show a dream. they are mixed together to create an answer print. In the final version. as a dance is to a song. and cut to the arro w getting closer and finally sinking into the enemy s chest. can be shown in fast motion within the short s pan of a commercial. sometimes if the action is set to music. This maneuvering is popular for showing slow p henomena happening in nature within the time-frame of a few seconds. 1:04 PM . For example. cutting to her g etting ready. cut to the arrow oozing out fir e. That is why using black-and-white visuals for flashbacks is q uite common. a caterpillar changing into a butterfly. a commercial takes a different form. For example . cu t to Arjun s expressions after shooting the arrow. etc. Extending the time of an action adds to t he drama and intrigues the viewer. Editing is not a mechanical cutting and joining of film. cut to the shot depicting panic on the face of the enemy. sounds. He can extend time by showing Arjun preparing to shoot a Brahmastra. The number of frames used to record an action is red uced. and lending a degree of smallness to it. thereby speeding up things. putting the action in perspective of its environment. How ever. photography or acting. The audio and video are recorded separately but they can be synchronised and listened to simultaneously. dark clouds envelop ing a city with clear skies. In the hands of an editor.Chapter 12 Creative Execution on Television Fast motion 505 The reverse of slow motion. dissolve to depict the arrow in mid air. Hence. actor Matt Damon i s shown remembering his identity in the past while looking at places and objects in the present. editors need to give subtl e cues to the audience to make them understand that there has been a flashback o r a flash-forward. etc. Shots keep flipping back and forth in time with the past shown in faded colours with shaky camera movements to create the feel of a vague memor y while the present is shown in clear shots.

and used the typical period background music of the film. the story is narrated by voicing it over action. ∑ Continuity editing: This is a popular style of editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. etc. looking fresh in the evenin g for a date) or different actions at one time in one place (shot of a man runni ng towards a train about to leave. This helped render the idea in a true filmy s tyle. There is no reliance on a narrator to explain the happenings.6). the opening shot should be such that it hooks the target audience and A commericial for D Cold Total wanted to portray that although common cold is not socially acknowledged as a serious ailment. 1:04 PM . the camera cuts from one action to another in an alternating fashion to show some relationship between them. th e commercial used intercutting wide-angle shots and close-ups. song-dance sequences. Even the hero of the commercial had a slight likeness to Guru Dutt and was drape d in a shawl in Dutt s patent style. cut to hero bei ng tied with chains. etc. cut to the guard waving a flag. cut to th e man getting bumped off by a coolie.p65 506 8/28/08. driving to office . In a cross-cut.3. l ethargic and depressed. What if the story opened with a weak shot. followed by an attention-getting raspy voiceover. going to a health club. Consecutive scenes are matche d such that they flow together naturally and the viewer does not distinctly noti ce the cuts. The first three seconds of a commercial are crucial in holding or losing interes t. attending a board meeting. cut to the train blowing a whistle.506 Advertising and Promotions: An IMC Perspective Following are the primary methods of cutting or types of editing: ∑ Compilation ed iting: In this type of editing. Hence. special effects. the idea behind both is the same to tell a story. And both use film language for story-tell ing. various unrelated shots or shots happening at di fferent places may be placed together. and that it would be impossible to get a good day s work d one when one is suffering from cold. the story itself is self-explanatory because shots are related to one another and take the story forward. Commercials also use dramatisation. commercials need to tell the story clearly and effectively. 12. 1. interconnected sh ots to heighten the impact of the story. it can make the sufferer feel low. different times in diff erent places (shot of a woman applying make-up in the morning. To dramatise the plight of the sufferer. Use movie language: Although an average film runs for over two hours and an a verage commercial for only 30 seconds. but it may not be effective. The ac tion may occur at same time in different places (shot of a hero being beaten up by the villain. cut to supporting actor sitting in a police van.2 Some Guidelines Following are some tips to bear in mind while executing television advertising.). had all the scenes arranged haphazardly and closed with out concluding? Viewers may still get the message. cut to supporting actor on the way ). whether of a hero or a product.4 A&SP Chap_12 (4th Proof). The treatment of the commercial paid a tribute to the cinematic style of the great Guru Dutt. Like a good movie . In other words. Since the visuals are not self-explanator y. ∑ Crosscutting: Crosscutting is a technique u sed to establish continuity. The commercial was s et almost entirely in black-and-white (Figure12. dra wing heavily from the framework of his iconic movie Pyaasa.

(Contd.p65 507 8/28/08. 1:04 PM .) A&SP Chap_12 (4th Proof).Chapter 12 Creative Execution on Television 507 FIGURE 12.6 D’ Cold Total commercial delivers the message in a truly filmy style.

508 Advertising and Promotions: An IMC Perspective Courtesy: D’ Cold. A&SP Chap_12 (4th Proof). Reproduced with permission. Mudra.p65 508 8/28/08. 1:04 PM .

4. After watching it. 5. use it. viewers can sum up the key ide a and understand why they should care for the product. The importance of creative editing in conveying the message is hence paramou nt in the production of a commercial. If technology furthers the strategy. 1:04 PM . people do not remember commercials for their producti on effects. The commercial succeeds in delivering t he message in an engaging way. Dire ctors and editors need to check if complicated visuals are long enough on the sc reen to ensure their complete understanding.7) which a lso uses a story to promote the product. It shows a lady teasing her man and both coming close to each other. but for their message and story. As opposed to that consider the TVC of Dabur Chyawanprash. with his anger vanishing. or are blurred. don t. are extr eme close-ups. Then she offered GulabJamun to one of her sons. who was slightly less irate. As opposed to spoken words. Images that move too fast. (Figure 12. but in A&SP Chap_12 (4th Proof). If it doesn t. audio and words: In tele vision advertising. the better it is. The mother tried calling them but to no avail. Beautiful and intere sting visuals should also be on the screen long enough to ensure their appreciat ion. images are more important than audio and printed words.p65 509 8/28/08. The rest of the shots should be connected to each another to heighten impact and the closing shot should summarise what is t old in the commercial or make a call for action. For example. The connection of the story with the pr oduct was quite indirect and required some thinking on the part of the audience. Product over story: The more the time spent on the product. The closing shot is also a good candidate for showing product image and logo to reinforce the brand identity an d to ensure that people draw the connection between the commercial and the produ ct. the story should not be an unrelated attention-seeker but should make the product a central part of it. and the othe r came following soon after. it is principally the adverti sing strategy that makes a good commercial. are difficult to understand. When aud io and text are used. Till the last shot one was left wondering as to what product the ad pertained to. 2. A commercial of Bharat Gas showed two kids Chunnu Munnu fretting over a disagree ment with their mother. The very purpose of a story is to emphasise the product. However. they should add to the picture s meaning and not be redundan t.Chapter 12 Creative Execution on Television 509 compels it to watch the commercial. Strategy over technology: Often the ad production personnel get swayed by the power of hitech special effects an d digital tricks. Thus. a Listerine ad focuses on the benefit that Listerine kills bad breath and gives freshness of the mouth thr ough an interesting visual sequence that people are bound to remember. Balance video. sometimes super-titles can help remember importan t points. whereas the time of boring and static visuals should be minimised. the product and brand name were mentioned. Suddenly they clamp pegs on their noses and try to kiss. After watching it. In the closing shot. The brand name too was mentioned only in the closing shot. 3. Also. Think benefits: What s i n it for the viewer? Translate your product features into product benefits that the viewer will be interested in seeing. as opposed to the story. one should be able to summarise the key idea and spell out why one should care for the product. the brand name and campaign theme. apart from providing entertainment and credibility .

Make it intimate: Think of television as a close and personal medium. he declares to his waiting mother that he s lost his umbrella. The girl s umbrella. MVO: " Dabur Chyawanprash. bachhe aur sardi zukham.. Use all its potential to combine sight and sound. A&SP Chap_12 (4th Proof). Show him using the shampoo and ge tting rid of the dandruff." She towels him dry..7 Dabur Chyawanprash relates its ad story to the product. but kill it..and fixes him an after-school snack as the doorbel l rings. if you are adverti sing a macho bike with a sexy sound.. On reaching home.. .is mausam mein bhi deti hoon Dabur Chyawanprash. Leo Burnett. or the fatigue on t he mother s face from cooking and cleaning. but also the sound of its engine. If you are running a family planning campaign....510 Advertising and Promotions: An IMC Perspective FIGURE 12. Banaaye andar se strong. As his mother. don t just include a jingle while your bike r uns on the streets. Similarly.. Show a tear streaking down a child s face for want of food. 6 . 1:04 PM     ... Her companion looks on and graciously lends her his umbrella. don t ju st show a man with his 11 children." Courtesy: Dabur. The girl is back to return the borrowed umbrella.gets tattered in the strong wind. and spark viewers emotions to help them identify with a product. The accompanying visuals in the closing shot are the silhouett e of a man drinking Listerine (shown in colour).. Reproduced with permission. he grins sheepishly and goes back to his meal.. .gives him a mock stare. .. A couple of kids alight from their school bus and walk the rest of the way home in the downpour. FVO: "Baarish. Remember that close-ups work better th an medium or long shots in conveying the emotions. and to use Liste rine every night. Iske amla aur gunkaari tatv zukham ko rakhe door. followed by the product shot.. Isiliye.p65 510 8/28/08. vain.. A voiceover suggests to not mask bad breath. don t j ust show the pack and the consumer holding it. the anger in a kid s eyes for want of attention. If you are advertising an anti-dandruff shampoo. .

og ilvyindia. sound effects and music. It leaves the greatest impact on a viewer. The process of the maki ng of a television commercial begins with the review of the creative brief. a. To create effective commercials. Text can also be used to point to important aspects that consumers need to reme mber. Th ey should keep the strategy in mind and effectively use movie language to levera ge the intimacy of the medium.Chapter 12 Creative Execution on Television 511 Summary Television advertising. body language. with its sight. A&SP Chap_12 (4th Proof). which is then translated into a script that gives instruc tions regarding dialogues. etc. camera movements. and combined with audio-video elements. Post production. Audio and video are the principal elements that make a TVC. sounds. casting. etc. Exercise 1. By using film language to tell a story. depicted frame by frame. 1:04 PM . The commercia l is then filmed or produced. The important task is to capture the big idea in the short span of a commercial. Adv ertisers then need to think in terms of images that they would use to tell a sto ry and let words evolve as a consequence of the images. Next. emotion and progression. Production requires taking decisions regarding num ber of scenes and shots. men swimming with watches. Open with a girl riding a bicycle on a rainy evening. motion. the agency prepares a storyboard a graphic organiser of a series of actions . advertisers should pay more attention to the p roduct than to the story. Why did they leav e an impact on you? 3. Video is the language of film and c omprises of scenes. and to the story than to the production techniques. acting and visual shots in a standard format. Show various shots of kid s playing in the rain wearing their watches. Close with the l ogo of a waterproof watch and a title that delivers the message. lightin g. and pers piring aerobic exercisers getting their watches wet with sweat. Show a shot of her watch getting wet. what could have been the reason of depicting Aamir K han in a Mangal Pandey look? Catch a streaming video of the commercial on www. camera moves and transitions. length of the commercial. sound. Effective commercials create a synergy between the audio-video elements wi th the audio and text primarily used to support visuals. its setting. Audio elements comprise of voices. Prepare a script and storyboard with audio-video directions and rough sketche s for each of the following narratives.com and comment on the effectiveness and production quality of the com mercial. What is the role of the various people involved in the co nceptualization and production of a commercial? Which roles require teaming up? How can a cameraman and an editor use creativity in ad production? Suggested Class Projects 1. editing is done to creati vely piece together various shots and scenes to create a story that makes sense. 2. In the opening vignette. These are then pieced to gether as a narrative. is one of the most influential and prominent media of conventional communication . talki ng and moving world that can portray a product larger than life. What factors distinguish a good television commercial from a mediocr e one? Think of some commercials that you feel are remarkable. television can create a walking.p65 511 8/28/08.

1:04 PM .com and check out the photob oards or streaming videos of some latest television commercials. and a contemporary shape and pac kaging for an up-market look. However. 3.p65 512 8/28/08. Do you think television is a superior medium of expression compared to other conventional media? Why or why not? 2. Unfazed. Now answer the following questions for each of them: a. Before he could grab the jar. Was there audio-visual synergy? Could you have comprehended the message based on pictures or sound alone? d. Watch at least five to seven TVCs pertaining to different product areas.512 Advertising and Promotions: An IMC Perspective b. Wh at was the central message? What is the benefit of using the product? b. Was the closing shot concluding? Did it s how the product? g. the brand felt the need to evolve to target the mass of urban hygiene-conscious households without alienating its loyalists.agencyfaqs. positioned as a family-hygiene soap with new product variants. Prepare a television commercial for the product for whi ch you designed print and radio ads. What ad f ormat was used? Was the ad entertaining? e. thinking in pictures. Was the opening shot attention-grabbing? Why? c. the brand was perceived as a cheap soa p for the poor people. beyond the r each of the boy. aired on different channels and covering different day parts. Start by restating your big idea. The product was again revamped in 2004. Critical Thinking Questions 1. What are the advantages of an in-house production facility to an advertising agency? Make a list of advertising agencies that also have production facilities. his elder sister barges in and seize s the box. Close with a shot of the energy d rink. till the early 2000s. It was relaunched in 2002 as a contemporary germ-protecting soap based on the healt h and vigor proposition. converting it into a script. the boy starts drinking an energy drink every morning and in no time outgrows his sister. Was there enough attention given to the product or did the story take over? Was the product visible enough in terms of time or proximity to the camera? f. which he now keeps out of her reach. Critique three ads and discuss in groups whether you found the ads effective or ineffective. the 112 year-old soap brand has been a health icon for t he nation. Did the commercial leave an impact on you? Why? 4. super and logo. writing narrative. Contact th e agencies in your town and request for a visit when a commercial is scheduled t o be shot. A&SP Chap_12 (4th Proof). The boy chases her but she places the jar on a cupboard. Present it before your class. Open with a 10-something boy trying to reach for a jar of cookies kept on a k itchen shelf. Visit www. 2. 5. Take notes regarding the filming process and compare it with the over view given in this chapter. and then preparing a storyboard. Conclude with the sister chasing the boy for cookies. In 2002. Tanduristi ki ra ksha karta hai Lifebuoy. Can a mute commercial work on television? In what situations might it be suitable? Case Lifebuoy Captures Audiences With Its Gandhigiri 5 Right from the days when its commercials sang the famous jingle.

in 2006. the ad draws on the philosophy of Mahatma Gandhi and shows a dimi nutivelooking school kid cleaning up his garbage-strewn neighbourhood. quickly establishes the kid s purpose of making a difference in his own little way. if a family is well protected.8 Questions 1.p65 . Lifebuoy should ask consumers to do something positive. The campaig n also found a place in the Limca Book of Records .8). the brand decided to elevate the functionality of Lifebuoy by taking the association with hygiene a step further. the brand s agency Lowe came up with a no-problem Koi darr nahin commercial. What kind of cam era moves and editing techniques have been used? Also comment on the casting and pacing of the commercial. Watch a streaming video of the commercial on www. visual ly fortifying the claim made by the MVO that Lifebuoy gives 100% protection. gripping shots depict the kid dressing like a little Ga ndhi. Lifebuoy promises protection. The idea behind the commercia l was rooted in the belief that all unhygienic activities are not necessarily un constructive. along with shots of animated germs being stamped over by the 100% mark. by that l ogic. and instead of asking consumers to not do something unhygienic (sta y away from germs) . 2. there is no cause for fear. the kid s confident mother delivers the Koi darr nahi message. from the physical level to h ygiene being a state of mind. To bre ak free from the clutter of such problem-solution brands. The 60-second commercial opens with a close-up of the kid waking up. The insight Koi Darr Nahi was born from the understanding that a well-protected f amily has no reason to fear anything. wi th a musical score that builds up to a crescendo. but also reversed. Towards the end of the commercial the brand is fur ther reinforced with shots of the Lifebuoy soap bar and liquid soap in dispenser . heightening the tempo of the c leaning activity and encouraging viewers to stay hooked. Do you think the commercial successfully leverages all the e lements of television? Does it effectively use movie language to tell the story? Critique the production quality of its audio-video components. the reaso n is revealed as Lifebuoy when the mother throws two bars at the kids to clean t hemselves up after the drive. and healthy and con fident people can bring about a positive change in their lives and environments. Try watching the commercial first on mute and then listen to its audio alone. So. Lowe. The closing shot shows kids dressed up for school roaring the Koi darr nahi tagline o nce again.Chapter 12 Creative Execution on Television 513 However. Write a script for the commercial and a storyboard w ith hand-drawn illustrations. a cloth-band on the head and a broom held like the Gandhi-stick. Consequently . This is because good health and hygiene add to a person s confidence. The campaign was supported by other media activities which helped Lif ebuoy own and increase hygiene awareness. and his G andhigiri inspiring other kids and a janitor who help him in the cleaning act (F igure 12. Somewhere amidst this a ctivity. Mothers are esp ecially confident as children s hygiene is no longer an issue explains Balki.youtube. The kid s confident mother reassures her maid about her concern by sa ying Koi darr nahi emphasising that mothers don t have to worry about kids getting d irty when Lifebuoy is around. the brand s modernity scores that had been steadily dipping were not only arrested. What details would you include in your production notes if you had to guide the production team? A&SP Chap_12 (4th Proof). As a result. A consumer study revealed that most competitor bra nds used the fear factor by talking about the ill-effects of germs. in an interview to Agencyfaqs!6 To creatively expr ess this idea. Later in the commercial. mothers too checked their kids from indulging in unhygienic activities. delivered in a stirring manner through an MVO. execu tive creative director. The su cceeding shots of kids tidying up the streets are all related to one another. Were you able to get the message through either of t he elements used singly? 3. Lifebu oy achieved its objective of capturing two million urban households. Props like the kid s round-rimmed spectacles.com. help deliver the Gandhi look. making viewe rs wonder about the reason of her confidence. The powerful op ening dialogue in Hindi. Next.7 The ad also won the agency Low e the Grand Effie 2006.

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Lintas Lowe.p65 514 8/28/08. Reproduced with permission. A&SP Chap_12 (4th Proof).514 Advertising and Promotions: An IMC Perspective FIGURE 12. Courtesy: Lifebuoy. 1:04 PM .8 Lifebuoy Captures Audiences with Gandhigiri.

com 4.agencyfaqs. Devina Joshi. October 26. De vina Joshi. Interview of Rajiv Menon. www.p65 515 8/28/08. 2005.com.agencyfaqs. March 10. www. O&M retains the Yahoo! Big Idea chair. 2006. Effie 2005: Titan rides high on What s your style? campaign. O&M retains the Yahoo! Big Idea chair.indiantelevision. Lowe is Agency of the Year.Chapter 12 Creative Execution on Television 515 Endnotes 1. Sumita Vaid Dixit. www.agencyfaqs.mudra. Nov ember 18. 2006. March 10. Devina Joshi. www. Devina Joshi. 2005.com. 1:04 PM . Thanda matlab solitary EFFIE Gold: EFFIE awards 2003.agencyfaqs. November 15. www.us. www. agencyfaqs. Filmmaker. Lowe is Agency of the Year.agencyfaqs. www.com 6.com. Gan dhigiri can work wonders for brands too. Lifebuoy assures hygiene for all. 3. November 18. www. Sumita Vaid Dixit.com 8. Daikin India Limited. November 15. 2006. Lifeb uoy assures hygiene for all.agencyfaqs.com 5. Gandhigiri can work w onders for brands too.com 7. www.com 2. www. August 23.com A&SP Chap_12 (4th Proof). 2006. 2005. 2003.agencyfaqs.