Finale Edit of Poster

Below you can see both the before and after of the Thriller posters. I changed this poster after i got the feedback from the focus group. Know that i have changed this i think that the poster has a larger impact on the audience and will help to encourage more people to watch the film because they now actually know when the film is released. 

 Before







































After

AO5 - Evaluation

Focus Group

We made our presentation in front of a group of 20 people however there was three people that we felt gave good feedback you can see this below.  These three people where Sophie Gillott, Tom oswell and Sam Bishop.

Sophie's feedback was that she liked the radio advert as she thought that it was very clear she also liked the chat show and thinks that this gives a lot of information and views from the one actor. However Sophie thinks that there should be more of a variety of merchandise and thinks that we should have made the trailer so that people new more about the actual film and didn't have to then ask what the film was about and what the genre was.

Tom's feedback was that he liked the colors that we used as they relate to the genre of the film after we had told then what it was. He also liked the lanyards that we had and the posters he thought that they were good because they were shocking and the editing of the girl on the one poster was good the way it was blurred around the edge. However he didn't like the competition and thought that it should have been easier as people may be put of because of how hard the question is. The last thing that he thought that we should change is the way that we have shown how the merchandise will look because it is not very clear.

Sam said that he liked our posters and the way that we have stuck to a convention so that then it suits that genre that the film is. However he thinks that we should change the merchandise and not have all of them with the same style and pattern to them. He also thought that we shouldn't have so many different types of merchandise and should maybe change the type that we where using and do something different like designing magnets and bed sheets.

If we had the chance to do this again then we would take this feedback on board and change the designs to use these. We think that this would make better products as a result.

minutes

Presentation Script

Competition

Chat show

Unfortunately  due to technical difficulties we could not get the script on the day of filming so as a result we had to think of a new one on the spot. However I think that this worked to our advantage anyway as it sounded more natural due to the spontaneity. 

Radio advert

Finale poster

Merchandise Ideas

AO2- Marketing strategy Plan

Marketing Plan

The product that I am going to be producing a marketing plan for is Snatch. This is a thriller. There is a variety of different ways in which I can market this Thriller, these ideas are shown in a spider diagram below.

Marketing Ideas

Aim

The aim of my marketing plan is to advertise the film enough to draw the target audience in and make them want to watch the film. The target audience that I have decided to aim the advertising as is 15 – 25 year olds I have chosen this age range because I think that this is what the film is aimed at due to the content in the Thriller as they can relate more to it. The marketing for this film is also important as it is a new production company that has produced it so I will have to make the Film stand out that little bit more.

Potential Market

The potential market that I am targeting my Marketing campaign at is between 15- 25 year olds as I have said above. This therefore means that all of the advertising for the film needs to be put into places where can be viewed by this age range as well as it needing to appeal to them this means thinking about what is put on the advertising as well as the characters that are put on the posters for example. To be able to appeal to this audience I will also have to consider the media products that I advertise it on.

TV Promotion

The TV promotions that I am going to do are trailers. There are going to be a variety of different adverts these will have more information about the film as time goes by. This means that when it is a week before the film comes out then there will be a lot of information in the trailer i.e. sometimes the storyline as well as all of the stars that are going to be in the film. These trailers are all going to follow the normal conventions which means having the date that the film is released as well as the production company that has made the film, by having this production company logo on the trailer it can draw more of an audience in as they will think that the production company normally makes good films so will go and watch it because of this. One of these trailers is storyboarded and a mock of the trailer is in a separate post.

Film Festivals

 A modern way in which a thriller can be put out there is by it being advertised at film festivals or even shown at film festivals abroad as if the thriller then wins awards at the film festival then people will want to watch the film as they will now that it is good in advance from the awards they have got. I am going to be doing this by sending Snatch to the German Thriller Film Festival. I am therefore hoping that this film will then win an award there so that I can use this in the advertising.

Film Magazines  

I am also going to advertise this Film in film magazines such as Empire, Total Film and Premiere. This advertisement poster will be A4 in the magazines as well as blown up to a larger scale when it comes to putting the posters around the local towns and at the cinemas. You can see this poster below:

    

Promoting in chat shows

I will also be using chat shows to advertise the film. The type of chat shows that my stars will be going on is Alan Carr Chatty Man, the reason that the stars will be going on chat shows like this is because they appeal more to the target audience than that of say Loose Women. The stars will be going on these chat shows to promote the film this will include answering questions about how it was to film with the other stars in it as well as letting everyone know when the film is out if they don’t already know.

Websites

Snatch will have three different websites. The first will be all done by themselves i.e. created by the production company. The other two websites will be linked to other websites these will be you tube and IMDB. All of these websites will have the same sort of information on. Meet the stars, gallery, trailer, Competition and a comment section for the audience to feed back on.  

Social Media

As this thriller is aimed at 15- 25 year olds it is a good idea to also advertise it on Facebook, Google + and Twitter. The reason it is a good idea is because it is largely this age range that use these social networking sites. Therefore by putting promotions on these sites I can get a larger target audience than before.

Twitter does not have adverts on it but has trends in which promote the Film. Mine would look like this.

#ThrillerSnatch  

Item	Start Date	Date of Completion
TV promotions	5 weeks Before the release of the Film	These will end 3 weeks after the film is released so that people that haven’t seen the trailer before still have the opportunity to.
Film Festivals	8 weeks Before the release of the Film	These will end 6 weeks before the film is released this is so that if it wins any awards at the festivals then I can use them in the advertising of the film.
Magazines	4 weeks before the release of the film	These will end the week after the film has been released as this will give people the chance to read reviews on the film that will be put in the magazines.
Websites	4 weeks before the release of the film	These will come down 4 weeks after the film is released so that the audience can still put their comments on the websites.
Chat shows	4 weeks before the release of the film	These will end 1 week before the film is launched.
Social Media	5 weeks before the release of the film	The advertising on these sites will end 2 weeks after the film was released as everyone should have seen the promotion by then.

Audience Feedback

Audience feedback can be given in two different ways. The first way in which it can be done is on their official website like I have discussed above. The audience will also be able to give feedback on the social networking site like Facebook and twitter. They will also be able to give feedback on the films two other websites that are linked on you tube and IMDB, All of the feedback that is made by the Audience may also be used with advertising in the future for this film it could be used when promoting the release of the DVD.

Promotions

One of the promotions that I am going to be using for Snatch is a competition. This competition will be laid out as below.

In which decade was Alfred Hitchcock’s  thriller ‘Blackmail’ released?

1910s

1920s

1930s

1940s

1950s

ANSWER THE QUESTION CURRECTLY AND YOU WILL BE IN THE RUNNING TO GO TO THE FILM PREMIER OF SNATCH AS WELL AS GETTING TO MEET THE STARS

Text 67890 or entre on our facebook page. Remember you have to be in it to win it.

All texts will cost 50p plus your normal network rate.

This competition will be advertised in Empire magazine as this is the biggest Film magazine there is so it really fits in with the theme of the question.

Snatch trailer

AO2

What is BARB?
BARB is short for Broadcasters Audience Research Board

BARB was set up in 1981 to provide the industry standard television audience measurement service for broadcasters and the advertising industry. BARB is owned by BBC, ITV, Channel 4, Channel 5, BSkyB and the IPA (Institute of Practitioners in Advertising) and is a not for profit company limited by guarantee.

BARB commissions contractors to provide research services, including the production of audience viewing figures, on its behalf. The audience measurement contracts are held by the following companies - RSMB, Ipsos MORI and Kantar Media (formerly known as TNS).

What is RAJAR?

Radio Joint Audience Research Limited is an organization that counts the number of people listening to each of the radio stations in the United Kingdom

RAJAR is jointly owned by the BBC

RAJAR (Radio Joint Audience Research Limited) was established in 1992 to operate a single audience measurement system for the radio industry - BBC and UK licensed commercial stations.

The company is wholly owned by the RadioCentre (the trade body representing the Commercial Radio stations in the UK, formerly known as Commercial Radio Companies Association or CRCA) and by the British Broadcasting Corporation (BBC). RAJAR is structured as a 'deadlocked' company, Board decisions require the agreement of both parties.

Whilst the Board debates and ratifies important decisions of policy and principle, more detailed discussion, and where relevant, decision-making, takes place in the Technical Management Group (TMG).

In addition to BBC and the RadioCentre representation, membership of the Board and TMG recognises the interests of the advertising community, which is represented by the Institute of Practitioners in Advertising (IPA). In addition a representative of the Incorporated Society of British Advertisers (ISBA) attends Board meetings.

RAJAR's non-executive independent Chairman chairs meetings of the Board. The day to day operations of RAJAR are the responsibility of the Chief Executive and Research Director.

From 2007, the RAJAR research contractors are Ipsos-MORI for fieldwork and reporting and RSMB for weighting and sample design.

What is the Audit Bureau of circulation? 

ABC (Audit Bureau of Circulations), the industry body for media measurement.

We inspire market confidence by delivering a valued stamp of trust across the media world. Our data is used by a wide range of decision makers:

• Media owners
• Media agencies
• Advertisers
• Rights owners
• Investors
• Management

Who are we owned by?

We are governed by the industry, for the industry. Our Board includes advertisers, media agencies, media owners and trade bodies. They represent the interests of the industry across multiple platforms.

Because we are a membership body, any profits are invested back into the business. We are continually innovating to meet changing industry needs and developments.

Our Board members are nominated by the following industry trade associations and bodies:

We have two roles:

• We manage and uphold standards which reflect media industry needs. These standards determine best practice in how media industry data is prepared and reported.
• We offer a world class audit and compliance service to check that data and processes meet these industry agreed standards.

We offer a variety of services for media owners to report their brand performance across print, digital, events and evolving platforms.

Measuring reach

Our team of expert auditors check figures for print, digital, events and evolving platforms. To us, measuring reach is all about taking a census approach which means counting rather than using a survey sample.

Measuring engagement and loyalty

Digital channels have opened up a range of options to track people’s engagement with content and loyalty to a brand. Our expertise in web traffic provides confidence in duration and repeat visitor metrics.

Raising digital standards and protecting reputation

We work with JICWEBS to help create common standards for digital measurement and good practice throughout the industry. We verify a growing number of digital trading processes to ensure they are compliant with these standards. This gives media agencies confidence in industry claims, protecting the reputation of owners and advertisers.

Accrediting digital service providers

Because we are experts in digital standards, JICWEBS has asked us to accredit digital service providers across the industry. This includes web analytics providers, hosting companies and other third parties. We verify that their processes can meet industry standards, increasing trust  throughout the industry.

We also offer consultancy, advice and training services. Please contact us atinfo@abc.org.uk to discuss how you could benefit from our expertise.

What is the ASA?

Advertising plays an essential role in today’s world. It informs, entertains and promotes healthy competition.

Our aim at the ASA is to ensure that consumers do not just enjoy the ads they see, but they can trust them too.

We build that trust by enforcing the Advertising Codes written by the Committee of Advertising Practice and acting swiftly when marketing communications break the rules.

Every week, the ASA’s decisions send out clear signals about what is and is not acceptable in advertising across a wide range of sectors. As a result of our work - and the UK industry’s commitment to advertising responsibly - the vast majority of ads that we see are legal, decent, honest and truthful.

Download our Guide to the ASA leaflet [pdf] for a quick summary of what we do.

The ASA is here to make sure all advertisements are legal, decent, honest and truthful.

We are independent of both the Government and the advertising industry and we are recognised by the Government, the courts and other regulators such as the Office of Fair Trading (OFT) and Ofcom as the body to deal with complaints about advertising.                                                            

Our work includes acting on and investigating complaints as well as proactively monitoring and taking action against misleading, harmful or offensive advertisements, sales promotions and direct marketing. 

Just one complaint can lead to an ad being withdrawn and we’ve made sure the complaints procedure is as quick and easy as possible.  If we uphold a complaint about an ad, the advertiser must withdraw or amend the ad and not use the advertising approach again.

We aim to resolve complaints as soon as possible and strive to ensure a healthy working relationship with advertisers and media owners.  We work with the Committee of Advertising Practice to educate and train advertisers on the rules to help prevent problem ads from appearing in the first place.

Download our Guide to the ASA to find out more about what we do.

Found out more about how we deal with complaints.

What is CAVIAR?

Cinema and Video Industry Audience Research Ltd - Established in 1985 to provide reliable cinema audience figures for MEDIA PLANNERS, which it derives from periodic sample surveys of about 2,500 British cinema-goers between the ages of 7 and 44. Time will tell what long-term effect this new initiative may have on the recently reviving fortunes of CINEMA ADVERTISING.

What is CAP?

Admired around the world for its creativity, the UK advertising industry sets the standard in successful self-regulation. Our industry is governed by codes of practice that are designed to protect consumers and create a level playing field for advertisers.

The Codes are the responsibility of two industry Committees - the Committee of Advertising Practice (CAP) and the Broadcast Committee of Advertising Practice (BCAP) and are independently administered by the Advertising Standards Authority (ASA).

Non Broadcast CAP

Role

CAP was set up in 1961 in order to regulate all print advertising and prevent the need for time-consuming government legislation. CAP writes and reviews the British Code of Advertising, Sales Promotion and Direct Marketing that all advertisers have to adhere to.

This Code is the industry’s method for ensuring advertisers meet the high level of standards the public demands whilst keeping a level playing field amongst advertisers. The Code broadly covers misleadingness, harm and offence, and breaches of taste and decency.

Members

The Committee of Advertising Practice is a tripartite body made up of the representatives of advertisers, agencies, media owners and other industry groups, all of which are committed to upholding the highest standards in advertising.

CAP members

Advertising Association
Cinema Advertising Association
Direct Marketing Association
Direct Selling Association
Incorporated Society of British Advertisers
Institute of Practitioners in Advertising
Institute of Promotional Marketing
Internet Advertising Bureau
Mobile Broadband Group
Mobile Marketing Association
Newspaper Publishers Association
Newspaper Society
Outdoor Media Centre
Professional Publishers Association
Proprietary Association of Great Britain
Royal Mail
Scottish Newspaper Society

Clearcast
Radio Advertising Clearance Centre

Industry Panels

The ad industry is central to the success of the self-regulatory system and in addition to the bodies who make up CAP and BCAP, the system receives invaluable support though three industry panels:

Sales Promotion and Direct Response Panel (SPDRP)

General Media Panel (GMP)

Online Publications Media Panel (OPMP)

As the name suggests, the SPDRP concerns itself with sales promotions and direct marketing. It advises on non-broadcastadvertising only. The OPMP too is medium-specific, and advises on the proper distinction between editorial and advertising in online publications.

The GMP’s composition means it can consider both broadcast and non-broadcast matters. 

The role of the Panels is to provide industry expert advice on the interpretation and development of the Advertising Codes and a forum for information exchange between the industry and the ASA and CAP Executive. It is often an opportunity for marketers to have industry representatives review an aspect of an investigation and to feed into the decision-making process. Although consideration is given to its recommendations and the Minutes of the meeting will be given to the ASA Council if relevant, the Panel’s opinion is not binding on either the Executive or the ASA Council.

The Panels may be asked to discuss a recommendation before the ASA Executive gives it to Council, specific copy advice, the application of a Code clause, the interpretation of a claim, common industry practice or other general regulatory subjects. The Executive may use the Panels to help draft Help Notes or revisions to the Codes for the consideration of CAP and BCAP. The Panel will almost never consider scientific or highly specialised evidence: it leaves those matters to the experts.

The SPDRP and the GMP are both made up of a Chairman, an ASA Council representative, about ten marketing or media practitioners, the Secretary (Director of Advertising Policy and Practice) and an Assistant Secretary (the CAP Compliance Manager for the SPDR and the Copy Advice Manager for the GMP). The OPMP is composed of the Chairmen of ASBOF and PRESSBOF.

The Chairman of the GMP is Farah Ramzan Golant. The Chairman of SPDRP is Philip Circus.

The scope of the SPDRP's and the GMP's work is wide-ranging. They have, for example, considered issues of social responsibility in alcohol and gambling ads and also in sales promotions, the independent judging and observing of prize draws and competitions, nutritional claims in food ads, RRPs, online remit for promotions and remit related to affiliate marketing, general and specific Code development matters and the application of the new Consumer Protection from Unfair Trading Regulations. 

Industry Panel members

General Media Panel (GMP) members

Farah Ramzan Golant (Chair)
Tess Alps
Sarah Bennison
Helen Buck
Shahriar Coupal (Secretary)
Tim Evans
Peter Gatward
Steve Goodman
Gareth Jones (ASA Council)
John Laidlaw
Andrew Melsom
Mike Moran
Sue Oake
Steve O’Meara
Mike Parker
Simon Rhodes
Claire Serle (Assistant Secretary)
Karen Stacey
Gillian Wilmot

Sales Promotion and Direct Response Panel (SPDRP) members

Philip Circus (Chair)
Peter Batchelor
Mark Challinor
Shahriar Coupal (Secretary)
Daphne DeSouza
Mark Dugdale
Michael Halstead
Caroline Roberts
Bruno Sheldon (Assistant Secretary)
Paul Whiteing
Nigel Walmsley (ASA Council)

Online Publications Media Panel (OPMP) members

Sir Christopher Powell, Chairman, ASBOF
Lord Black of Brentwood, Chairman, Pressbof

Broadcast CAP 

The Broadcast Committee of Advertising Practice (BCAP) is responsible for writing and reviewing the UK Code of Broadcast Advertising.

Role

The Communications Act (2003) saw the set-up of the Office of Communications(Ofcom) to regulate all telecommunications. The success of CAP and the regulation of print ads led to Ofcom contracting out the regulation of broadcast advertising to the ASA and the formation of the co-regulatory Broadcast Committee of Advertising Practice.

BCAP writes and updates the UK Code of Broadcast Advertising with the aim of preventing ads from being misleading, causing harm or offence, and breaching boundaries of taste and decency.

Members

Like its sister organisation on the non-broadcast side, the Broadcast Committee of Advertising Practice is a tripartite body. It comprises representatives of broadcasters licensed by Ofcom, advertisers, agencies, direct marketers and interactive marketers.

BCAP members

Advertising Association
British Sky Broadcasting Limited
Channel 4 Television Corporation
Channel 5 Broadcasting Ltd
Commercial Broadcasters Association (CoBA)
Direct Marketing Association
Electronic Retailing Association UK
Incorporated Society of British Advertisers
Institute of Practitioners in Advertising
ITV plc
RadioCentre
S4C
Teletext Limited 

Clearcast
Radio Advertising Clearance Centre

Independent Consumer Panel - Advertising Advisory Committee (AAC)

The Advertising Advisory Committee (AAC) is a consumer panel established by BCAP to provide a consumer perspective to its code policy work, such as the drafting and interpretation of UK Code of Broadcast Advertising.

The AAC members are independent of the advertising industry and appointed following public advertisement:

Elizabeth Filkin (Chair)
John Bradford
Andrew Brown
Colin Cameron
Dr Michaela Jordan
Stephen Locke
Angela McNab
Dr Michael Wilks

You can read the update on the AAC’s work in our Annual Report. 

Industry Panels

The ad industry is central to the success of the self-regulatory system and in addition to the bodies who make up CAP and BCAP, the system receives invaluable support though three industry panels:

Sales Promotion and Direct Response Panel (SPDRP) 

Online Publications Media Panel (OPMP)

General Media Panel (GMP) 

As the name suggests, the SPDRP concerns itself with sales promotions and direct marketing.  It advises on non-broadcastadvertising only. The OPMP too is medium-specific, and advises on the proper distinction between editorial and advertising in online publications. Read more about the SPDRP and its membersthe OPMP under the CAP (non-broadcast) section.

The GMP’s composition means it can consider both broadcast and non-broadcast matters.

The role of the Panels is to provide industry expert advice on the interpretation and development of the Advertising Codes and a forum for information exchange between the industry and the ASA and CAP Executive. It is often an opportunity for marketers to have industry representatives review an aspect of an investigation and to feed into the decision-making process. Although consideration is given to its recommendations and the Minutes of the meeting will be given to the ASA Council if relevant, the Panel’s opinion is not binding on either the Executive or the ASA Council.

The Panels may be asked to discuss a recommendation before the ASA Executive gives it to Council, specific copy advice, the application of a Code clause, the interpretation of a claim, common industry practice or other general regulatory subjects. The Executive may use the Panels to help draft Help Notes or revisions to the Codes for the consideration of CAP and BCAP. The Panel will almost never consider scientific or highly specialised evidence: it leaves those matters to the experts.

The SPDRP and the GMP are both made up of a Chairman, an ASA Council representative, about ten marketing or media practitioners, the Secretary (Director of Advertising Policy and Practice) and an Assistant Secretary (the CAP Compliance Manager for the SPDR and the Copy Advice Manager for the GMP). The OPMP is composed of the Chairmen of ASBOF and PRESSBOF.

The Chairman of the GMP is Farah Ramzan Golant. The Chairman of SPDRP is Philip Circus.

The scope of the Panels’ work is wide-ranging.  They have, for example, considered issues of social responsibility in alcohol and gambling ads and also in sales promotions, the independent judging and observing of prize draws and competitions, nutritional claims in food ads, RRPs, online remit for promotions and remit related to affiliate marketing, general and specific Code development matters and the application of the new Consumer Protection from Unfair Trading Regulations.