This document provides an overview of the TV advertising process, including fundamentals, buying, developments and innovations, and creating a TV commercial. It discusses TV rating points, how costs vary by audience and time of year, and the multi-step TV buying and production process from initial planning to final broadcast. Key aspects covered include scheduling, negotiating airtime, developing treatments and budgets, pre-production, casting, shooting, editing, approvals, and going on air.

1. An Introduction to TV
• TV Fundamentals
• TV Buying Process
• TV Developments and
Innovations
• A Brief Guide To Making a TV
Commercial

2. Defining a TVR
A TVR is the % of the total potential audience who viewed a particular spot
was watched by an average of 2m Ads1634
total potential audience (Universe) for Ads1634 is 14.6m
= 13.5 TVRS

3. TV Fundamentals

4. TVRS are determined by Price
REVENUE
CPT
Cost per
= thousand
impacts
AUDIENCE

5. A Supply and Demand market
Price Demand Supply
(CPT) (Revenue) (Viewing)

6. Costs vary by station…
Source: DDS, Group M Estimates 2012

7. …by target audience
Ads £5.31
ABC1 Ads £15.28
16-34 ADS £37.40
HW+Ch £42.23
1634 £59.37
Wmn
1634 Men £95.03
Average ITV CPT
Source: DDS, Group M Estimates 2012

8. …and by month
Average
price is
£64.70
Jan £34.15
Feb £35.26
Mar £40.79
Apr £46.72
May £47.59
Jun £47.92
Jul £42.78
Aug £57.92
Sep £71.24
Oct £71.32
Nov £59.76
Dec £49.17
Average Ads1634 CPT
Source: DDS, Group M Estimates 2012

9. The TV Buying Process

10. Things to consider when planning/buying TV
Programmin
Programming
g
Effective
Effective
Effective
Weekly
Weekly Channel
Channel mix
Channel mix
weights
weights mix
weights
Best blend
Centre break of quality
access and price Dayparts
Dayparts
Dayparts
Position in
break DRTV
DRTV

11. TV buying starts at AB…
Month
AB Deadline Two Months of
Transmission
Wks prior to TX: 8 7 6 5 4 3 2 1 0
Schedules Schedules Negotiated
Money approved booked by TV released to airtime Continued airtime
to TV stations stations & agencies improvement improvement
optimised
Programme
All good programming booked up
requests sent so approve late and quality suffers
significantly
Seasonality also affects how flexible stations can be with AB deadlines.
Q4 is always very difficult due to over-demanded programming and
high brand counts

12. The TV buying process
Book in
schedules
Re-rate
spots Determine
what can be
afforded Argue CPTs
(rev/aud)
Turn-
around
campaign
quality
Chase key
Ensure programmes
hitting
Chase value channel mix
Assess to ensure deals
market and strikeweights
report to are met
client

13. TV Developments and Innovation

14. Areas of development in TV
New Devices
Enhanced Viewing
becoming TV devices
Connected TVs TV & Other Devices

15. Areas of development in TV
New Devices becoming
Enhanced Viewing
TV devices
Connected TVs TV & Other Devices

16. TV Sets are getting bigger

17. Analogue switch off is imminent

18. You View just launched

19. Now TV is an example of on demand TV growing

20. First screen developments
Brands and channels
Product Placement working closer together
eg. AFP

21. Tresseme sponsorship with next top model

22. Successful to push brand metrics

23. Advertorial/themed breaks

24. Areas of development in TV
New Devices
Enhanced Viewing
becoming TV devices
TV & Other Devices
Connected TVs

25. Penetration on the increase

26. Views across 2011

27. C4 innovating with new VoD formats available to
advertisers

28. And some more formats on the horizon

29. Areas of development in TV
New Devices becoming
Enhanced Viewing
TV devices
TV & Other Devices
Connected TVs

30. Each of the big 4 have their own technology

31. Areas of development in TV
New Devices becoming
Enhanced Viewing
TV devices
Connected TVs TV & Other Devices

32. Second screen devices are often used whilst watching
TV

33. And tech companies are taking advantage of this

34. As well as media owners

35. And advertisers

36. A brief guide to making a TV commercial

37. TalkTalk: Homes Within Homes 60”

38. The TVC Process

39. Script
TalkTalk ‘Homes Within Homes’ 60”
We would take the camera inside ‘homes’ that are situated in people’s real life homes.
We’d film the characters as they come to life, watching enviously out of their windows at the real people in the real homes
using Talk Talk (skyping, surfing YouTube, calling friends and so on).
Each so called home would come to life true to the style that it’s rendered in. So an oil painting of a house that hangs on a
wall would come to life, with the characters within it moving in their fluid, oil painted state.
Inside a cuckoo’s home, we’d observe a wooden cuckoo moving around it’s house in a very rigid, comedic way (think
Professor Yaffle from Bagpuss).
The house on the front cover of a DVD would be shot live action, replicating the real life look as intended on the cover.
Or a plastic scale model railway signal man comes to life, and we see inside his plastic world as he moves over to the
signal hut window to observe the outside world of the real home using TalkTalk.
All of the scenarios above are just starters for ten – we’re sure there’s lots more interesting ‘homes’ that can be found and
brought to life in an entertaining way.
After visiting five or six homes within homes, we would then revisit them towards the end of the commercial.
All the envious characters are envious no more, as they now have Talk Talk installed and are enjoying the benefits for
themselves.
SUPER: TalkTalk logo.
SUPER: A brighter home for everyone.

40. Timings
Week Agency amends
Stage Proposed Dates 7 on Monday 7th March
s VO record
Final Script approval by Friday 24th December First offline edits to Talk Talk on Tuesday 8th March
Edit Feedback & revisions from Tuesday 8th March
Christmas Break w/c Monday 27th December
Client approval of off-line edits by Friday 11th March
BANK HOLIDAY on Monday 3rd January
Commence Director search w/c Tuesday 4th January
8 TK approved edits on Monday 14th March
Director meetings w/c Monday 10th January Commence online post production / animation incl. SFX and
from Tuesday 15th March
sound dub
Develop treatments and budgeting w/c Monday 17th January
Treatments and budget to agency on Friday 21st January
Budgeting on Friday 21st January 9 Continue online post production / animation w/c Monday 21st March
Treatments to Creative Director
1 on Monday 24th January 10 Continue online post production / animation w/c Monday 28th March
Continue budgeting
Present recommended treatment and budgets to Talk
on Wednesday 26th January
Talk
Client approve recommended director and estimate by Thursday 27th January 11 Continue online post production / animation w/c Monday 4th April
Full go ahead to production incl. casting, location recce.
on Friday 28th January
Art director briefed and boards begun
1st 50% of budget invoiced to client on Friday 28th January 12 Continue online post production / animation w/c Monday 11th April
2 Continue pre-production w/c Monday 31st January
13 Continue online post production / animation w/c Monday 18th April
3 WIP meeting incl. presentation of storyboards and artists w/c Monday 7th February
Commence applications for child licences based on
from Wednesday 9th February
approved cast 14 Continue online post production / animation w/c Monday 25th April
1st 50% of Budget payment due from client by Friday 11th February
Final pre-production meeting incl. sign off of all elements 15 Continue online post production / animation w/c Monday 2nd May
4 w/c Monday 14th February
incl. casting and location
Artist background checks w/c Monday 14th February Final film to client for approval by Thursday 5th May
Production Company 1st 50% due by Friday 18th February
16 Final films approved by Client and Clearcast by Monday 9th May
5 Shoot w/c Monday 21st February
Playout to TV stations on Tuesday 10th May
6 Commence offline editing w/c Monday 28th February
On Air TV from Friday 13th May
First offline edits to Agency (and Clearcast) by Thursday 3rd March
Offline edits to Creative Director on Friday 4th March

41. Treatments & Budgets
Adam Berg (on budget)
Brett Forakker (£100,000 over budget)
Dom&Nic (£80,000 over budget)

42. Storyboards

43. Character design

44. Character design cont...

45. Locations
Insert information

46. Shoot
• Live Action shoot - 3 day location shoot across 5
locations in London.
• Standard shoot day is 10 working hours
• Filming with children (reduced filming times)
• Stop Motion Animation shoot – 4 days
• It takes 1 day of shooting to obtain 6-9 seconds
of stop motion footage
• No options for alternative takes with stop motion
animation
• We shot 8am – 3am most days and had to shoot
an additional 1x day to get what we needed.
• TalkTalk Animators had just finished working on
Fantastic Mr Fox (see how similar the characters
move in the film and the TVC)

47. Offline edit (alt. 6 character version)

48. Music
Home - Ellie Goulding
Close to home - Ian Dury
No place like home- Elvis
Music option: ‘All out of love’
Home-Iggy Pop
I wanna go home - Van Morrison
Home is where the heart is – Elvis Presley
Mama I’m coming home – Ozzy Osbourne – tone change at 1min 30sec
Home of the brave- Lou Read
Goin home- Elvis
Home- Edward Sharpe
At home- Crystal Fighters
On my way back home- Band of Horses
Home- Foo Fighters
Bring me home- Sade
Home- LCD soundsystem
Home- Glasser
My home- Seasick Steve

49. Final film

50. Quiz