Planning + Buying Traditional MediaTMKU

2

•What is traditional media?

•TV

•Radio

•Print

•OOH

•Digital Amplification

AGENDA

WHAT IS TRADITIONAL MEDIA?

4

EVOLUTION OF MEDIA

5

TRADITIONAL MEDIA DEFINED?

6

OUR CLIENTS AND WORKLOAD SKEW DIGITAL

DIGITAL

48%

10%

28%

11%

2% 1%

SEARCHTV

PRINT

OOH

RADIO

7

THIS IS OUR WORLD

8

NYC DOES NOT LOOK LIKE THE REST OF THE COUNTRY

9

WHILE DECLINING, TRADITIONAL TIME SPENT IS GREATER THAN DIGITAL TIME SPENT

6:43 Traditional v. 5:09 Digital

Traditional time spent - 25%

10

AD SPENDING IS STARTING TO CATCH UP, BUT...

Through 2017, TV spend is still predicted to be 23% higher than total digital spend

11

TV IS STILL SEEN AS THE MOST EFFECTIVE CHANNEL

Source

Against US Internet users, TV is still 10x more effective than internet advertising

12

YOU HAVE TO KNOW HOW TO PLAN IT

13

DON’T FRET - UNIVERSAL TRUTHS STILL APPLY

•Who am I talking to?

•What’s the best environment to reach them in?

•Where can I find the greatest % of them?

•What’s the most efficient way to reach them?

•What’s the best place to be within the channel?

•How do I use available info to make the best decisions?

•How can I outsmart my competitors in this space?

•What do I need to achieve to satisfy my business

Targeting

Environment

Reach/Composition

Efficiency

Placement

Data

Competition

Communication Goals

PLANNING + BUYING TV

15

TIME SPENT

4 hours and 31 minutes per day-3% v. 2012

16

WHY TV?

STRENGTHS

•  Immediacy, impact, and broad reach •  Builds awareness quickly •  Dynamic message combining sight,

sound, and motion •  Ability to select programming •  Efficient dayparts •  Geographic flexibility through use of

Spot TV

LIMITATIONS

•  Clutter •  Increasingly fragmented viewership •  High out-of-pocket cost •  Increasing use of DVR/TiVo leads to

time-shifted viewing •  Competitive restrictions

TV best used: 1. To build broad-based reach

2. To capitalize on television’s audio/visual capabilities to showcase program content

17

BROADCAST SYNDICATION CABLE

WAYS TO WATCH = WAYS TO BUY

VOD FEPS

TV

DIGITAL

18

NATIONAL V. LOCAL V. DRTV

19

UPFRONT V. SCATTER

Buying approach depends on the planning horizon, programming/flighting flexibility, and marketplace factors such as supply and demand

The unsold national ad time on the broadcast and cable networks that remains after the up-front buying period.

•  Shorter lead-time •  Offers more strategic flexibility •  Ability to better align with specials and mid-season TV marketplace

Upfront Approach Scatter Approach

The first selling wave for the broadcast or cable networks. Usually occurs after the new fall schedules have been announced.

•  Longer lead-time •  Broad selection of programming •  Audience guarantees/protection •  Favorable rates

20

HOW YOU BUY IT

LiveC3 (Live + 3 days)C7 (live + 7 days)

CURRENCY

A18-49W18-34A21-34A35+

A25-54

DEMOGRAPHICS

GROSS RATING POINT (GRP): THE PERCENT OF A SPECIFIC POPULATION GROUP THAT IS

EXPOSED TO A PROGRAM

2.46LIVE

4.41LIVE+3

4.63LIVE+7

COST STRUCTURE: CPP / CPM

21

BUYING V. TIME PERIODS

Early Morning (6A - 9A)Morning (9A- 12P)Daytime (12P - 4P)

Early Fringe (4P - 6P)Early Evening (6P - 7P)Prime Access (7P - 8P)Primetime (8P - 11P)

Late Fringe (11P - 11:30P)Late Night (11:30p - 2A)

Overnight (2A - 6A)

DAYPART MIX

PremieresSweepsFinales

Specials (VMAs, Oscars, Emmys)Holiday

Super BowlHoliday Weekends

SEASONAL CONSIDERATIONS

22

BUYING PROCESS

The Negotiation Stewardship Post Buy Analysis

• Check avails

• Estimating station projections

• Current rates submitted by stations (CPPs)

• Rate negotiation and D/D/T messaging allowance

• Added value

• Ensuring GRPs cleared

• Confirming spots ran

• Confirming delivered inventory matches what was purchased

6-8 weeks pre-campaign Campaign flight 90-days post campaign/ per quarter AGENCY PARTNER

PLANNING + BUYING RADIO

24

TIME SPENT

1 hours and 26 minutes per day-6.5% v. 2012

25

WHY RADIO?

STRENGTHS

•  Create a local presence •  DJ mentions can make a brand more

personal •  Excellent opportunities for added

value •  Low out of pocket cost •  Low barrier to entry •  Immediacy and frequency

LIMITATIONS

•  Background medium, non-intrusive •  No visual or brand registration recall,

audio exposure only •  Limited reach on a national basis •  Can be expensive to cover market

Radio best used: 1. To take advantage of a :60 message platform

2. To add frequency to the media plan 3. To capitalize on the “local” nature of the medium

26

NETWORK LOCAL

WAYS TO LISTEN = WAYS TO BUY

ONLINE

OVER AIR

DIGITAL

SATELLITE

27

NATIONAL V. LOCAL

•  Purchased by individual antenna reach (Metropolitan Statistical Area (MSA)) with the ability to target through station selection

•  Promotional opportunities at the local level

•  Lower out-of-pocket costs than Network/National

•  Offer geographic & creative flexibility by allowing different messages to run in different markets

•  Networks own and sell commercial space in shows/events that are broadcast across a large network of local station markets

•  Higher out-of-pocket cost •  Examples include: Syndicated shows,

live concerts, Olympics, live sports, NPR

Spot/Local Radio Network/National Radio

��

Radio

Primary Unit:30

Primary Unit:60

Local premium means look for the breakeven

point

28

HOW YOU BUY IT

AM Drive (6A - 10A)Day (10A - 3P)

PM Drive (3P - 7P)Evening (7P - 12A)

Overnight (12A - 7A)Weekend (6A - 12A)

DAYPARTS

Like TV, bought against age

demographicsA18-49W18-34A21-34A35+

A25-54

GRPS

AGENCY PARTNER

CHR - Top 40Urban

Adult ContemporaryHot AC

Urban ContemporaryClassical

News / Sports / InfoDance

Easy ListeningJazzTalk

OldiesCountry

FORMATS COST STRUCTURE: CPP / CPM

PLANNING + BUYING PRINT

30

TIME SPENT

18 minutes per day-18% v. 2012

TIME SPENT

14 minutes per day-13% v. 2012

31

WHY MAGAZINES?

STRENGTHS

•  Selective audience targeting by demographics, lifestyles, interests, etc.

•  Editorial flexibility and compatibility •  Long shelf life •  High quality reproduction can

enhance brand and product image •  Detailed copy opportunity

LIMITATIONS

•  Relatively slow reach building •  Longer lead times •  Limited geographic flexibility •  Difficult to build frequency •  Slow readership cume

Magazine best used: 1. To provide extended messaging

2. To effectively target specific lifestyles/interests 3. To reach light television viewers

32

CONSUMER B-TO-B SUNDAY

MAGAZINE TYPES

LOCAL

IPAD

TYPES

DIGITAL

33

MAGAZINE UNITS

Fractional: 1/3 Page Custom: Intrusion

Cover Flap

Gatefold

10 | TVGUIDE.COM

IN THE NEWS

CLO

CKW

ISE

FRO

M T

OP

LEFT

: MO

NTY

BRI

NTO

N/C

BS; C

HRI

S H

ELCE

RMAN

AS-B

ENGE

/ABC

; TO

DD W

ILLI

AMSO

N/W

IREI

MAG

E; E

RIC

MCC

ANDL

ESS/

ABC

Is Dempsey Leaving Grey’s?IT’S DECISION TIME for Patrick Dempsey. His Grey’s Anatomy contract is up at the end of this season, and the actor has said he was ready to check out of Seattle Grace/Mercy West. But now he tells us he may sign on for one more rotation. —Franck Ragaine

Are you going to come back? It’s worth having a conversation. I have a family to support, and why not have a discussion about continuing? The question is will I do a full season, a half season or come back at all? There are a lot of things I’d like to do: [car] racing, films…so if I’m able to balance all those things and continue on with the show, why not? There are so many other things than just the money. But it’s a nice position to be in.

Do you think Derek’s path over the past eight years and the stories around him make sense? Oh, no, not at all. It’s very difficult to keep it fresh when you’re doing 24 episodes a year. [Creator] Shonda Rhimes has a lot of ideas, and she is in a position where she can take more

chances. Sometimes that works, sometimes it does not. Last

year we had the singing epi-sode, which I think was a big mistake. But you have to try.Are you happy with the

adoption story? I’m very happy with the baby story. I’m glad it’s not about Meredith and Derek together, but it’s about them raising a child. Meredith always has tragedy around her

that creates a lot of drama. It’s amazing that Derek continues to stand by her. But it’s good that they made the com-mitment to stay together.

“It’s nice to have a job,”

Dempsey says

A 1954 TV GUIDE editorial suggested that the people responsible for loud commer-cials “should be sentenced to five years at hard labor in a boiler factory.” The Com-mercial Advertisement Loudness Mitiga-tion Act signed into law by President Obama won’t dole out that kind of pun-ishment—but it is the first regulation to address one of the longest-running issues viewers have. “We have received thou-sands of complaints,” says FCC chairman Julius Genachowski. “It’s a real concern among consumers.” TV stations, satellite companies and cable operators will have a year to comply with the new regulation that requires commercials and promos to be at the same volume level as program content; if they don’t, they can be subject to fines. While the FCC will do some spot checks, they will depend on viewers to make themselves heard above the noise and report possible violations. —SB

FCC Turns Down TV Ads’ Volume

The TV landscape saw a lot of big change (and big dollars) in 2011. Here are the stats on some major stories. —SB

The Year in N umbers

Settlement received by Charlie Sheen from CBS and Warner Bros. Television after the actor sued over his firing from Two and a Half Men.

Estimated hours spent on TV by Regis Philbin, who exited Live! With Regis and Kelly in November.

Hours of coverage E! devoted to Kim Kardashian and Kris Humphries during the week of their $10 million wedding on August 20. The couple split after 72 days.

Average number of people who watch a show on their DVR during prime time—larger

than the audience for same-day viewing of every network except CBS.

Sitcoms (including 2 Broke Girls, above)currently among Nielsen’s Top 20 prime-time shows, which is on track to be the most since the 2002–2003 season.Average number of TV sets in an American

home, an all-time high. But the percentage of U.S. households that own a set—about 97 percent—is the lowest since 1975 (one reason may be younger viewers who watch their favorite shows online).

$100 millionThe amount Amazon paid CBS for

the online streaming rights to 2,000 episodes of past programs, including

Star Trek, Frasier and Cheers.

Minutes the candidates for the Republi-can presidential nomination have spent

debating on national television as of December 15.1,426

11.5 million$25

16,70032

MILLION3.015

TVG01_p10_InTheNews.indd 10 12/21/11 6:45 PM

THE EMMY® WINNING SERIES RETURNS

S E A S O N ! "

SUN JAN 8 9/8C

pbs.org/downton Funding for MASTERPIECE is provided by

WAR CHANGES EVERYTHING.

“Their talent speaks for itself,” Horowitz and Kitsis (inset) say of the cast

WATCH MY SHOW!

ADVE

RTIS

EMEN

T

Once Upon a Time Having served as exec-utive producers on Lost, Adam Horowitz and Edward Kitsis

are experts in alternate worlds, shocking twists and the battle between good and evil. As the creators of ABC’s fairy tale–themed new hit, they found another way to spin those kinds of yarns. It’s working: When seven days of DVR usage are included, Once averages 13.8 million viewers and a 4.8 rating among adults 18–49. In case you haven’t checked it out yet (the show returns Janu-ary 8), Horowitz and Kitsis answered our show runner questionnaire in the hopes that you’ll soon book a trip to Storybrooke. —MS

I could sit at home and read a fairy tale. Why should I watch your show instead? Because what we’re attempting to do is not retell fairy tales but tell you the parts of them you never knew—to reinvent them through our own sensibilities and then mash them all up in ways we’ve never seen before and we hope the audience hasn’t imagined. What happens if we don’t watch your show? Then the show ends. And we are sad.Give us an algorithm for your show. We don’t understand math. That’s why we became writers.What’s the best thing anyone has said or written about your show? That it made them happy to watch, that

it transported them somewhere enjoyable for an hour.Were they right? We take them at their word. Who are we to judge?ABC promotes your Lost credits. Which past credit should they avoid touting at all costs? Hot Tonight. It was a public access sketch-comedy show we did in Madison, Wisconsin. We thought we were funny. We write drama now. How are you using your power of TV for good? We are trying to write about the power of hope in a time of uncertainty. Also, we use it to fight crime.What’s an alternate title for your show? A Fistful of Fairy Dust.Show runner battles are all the rage these days. Pick a rival show, any show, to start a fight with. 60 Minutes. We’ve watched your show. We’ve timed it. Without commer-cials, you’re only 43 minutes. Let’s scare the network. Tell us an idea that didn’t make it out of the writers’ room. We have a show with fairies, dwarves, talking crickets and dragons—we’re not sure they’re frightened of anything anymore.Let’s say you could do a crossover episode with any TV show in history. Which show, and what would the episode be about? The Charmings. And it would be Snow and Charming confronting Snow and Charming.

Fighting to the death over who is really…Snow and

Charming.

Of your cast members, who would fare best on Celebrity Apprentice? Rumpelstiltskin. He drives a hard bargain.Now that you’re a hit, what sort of Hollywood-ish thing will you demand? We don’t think of ourselves as a hit; we’re just glad to have the opportunity to tell more stories. That said, we’ve asked ABC for a dwarf entourage.What would a Once Upon a Time ride at Disneyland look like? You’d hop in Emma’s Yellow Bug, race through Storybrooke and escape the curse right before being depos-ited in Fairy Tale Land. That’s where, of course, your picture would be taken in the Magic Mirror. And you’d have to walk through Mr. Gold’s Pawn Shop in order to buy souve-nirs. Or barter your children for the location of your parking spot, which you’ve long since

forgotten because of the dizzying ride.

TVG01_p11_IntheNews.indd 11 12/20/11 11:59 PM

®®

9. Subject of the Twenty-First Amendment

10. Bard’s before

11. Tied the knot12. Feel blindly13. Choral piece14. Walt __ Disney15. Bony part of a chicken16. Clad like an “Animal

House” reveler17. Longtime Aretha

Franklin label18. Bryce or Grand20. Got a glimpse of30. Syrup source31. Zero32. Foxy quality33. Perrier competitor36. Anti-fur org.37. Meat grade39. __ call40. Some Art Deco works

84. Heroine of Irish legend85. Feeling, informally86. Olive, Castor and Cole

of “Thimble Theatre”87. Coup d’__88. Antiperspirant brand89. Bloodmobile visitor91. Prospector’s strike92. Put into law93. El __ (legendary city

of gold)95. Declare untrue97. State one’s view98. Morales of “La Bamba”99. Born, in bridal bios

100. Gog and __104. Prods gently105. Young eels106. Anti-Saloon __

110. Layered like a weddingcake

113. Apparatus for making96-Across

114. New staffer115. Seemingly forever117. Playful mammal118. Toil away120. Carps constantly122. Do as directed123. Mideast bigwig124. Tear to the ground127. 100 lb.128. “Well __-di-dah!”131. Six-Day War gun132. Reagan advisor Nofziger

107. Dancer with seven veils109. Reprimand

41. ’40s computer44. Unaffiliated in D.C.45. “Beg pardon ...”47. __ podrida48. One of the Baldwins49. Put a stopwatch to51. Start the pot52. Sniff out54. Thin nail56. Refusing to listen57. Metronome setting59. North-of-the-border

gridiron org.62. Mother of Don Juan63. Really ticked off65. __ Hashanah67. Wall St. debut70. Help in a heist71. Practice in the ring72. Three sheets to the __73. Mr. T’s TV group74. Interest fig.77. Blissful spots78. Tamblyn of “West Side Story”79. Make a getaway80. Haifa’s land: Abbr.83. Big Apple tennis stadium

ACROSS

1. Hung onto5. Bermuda hrs.8. Home __

12. Term for governmentagents coined by“Machine Gun” Kelly

16. XXX center19. Old U.S. gas brand20. Suffix with luncheon or sermon

21. “A __ formality!”22. Part to play23. “... man __ mouse?”24. __ beer25. Sam & Dave’s longtime label

26. Pundit’s page27. Ear-related28. Bathtub __29. Anti-alcohol movement32. Prohibition nightspot34. “Say it __, Joe!”35. Java programs38. Presidential turndown39. Surrenderer at Appomattox42. __ XING (road sign)43. Flooring manufacturer45. Quinn of “Benny & Joon”46. __ Rothstein, a bootlegger

who reputedly fixed the 1919 World Series

48. “This must weigh __!”50. Rocker Turner52. Doo-woppers __ Na Na53. Subway entrance54. __ pig55. The Eighteenth __

established Prohibition58. Bluish green hue59. Oreo filling60. Think highly of61. Grafton’s “__ for Evidence”

64. Nickname for Capone66. Circus horn honker67. Mae West's “__ Angel”68. __ Fashioned cocktail69. Prohibition-era

“new breed" of woman71. Baseball card deals75. Black-market stuff

during Prohibition76. Starter or reliever79. “For shame!”81. Work without __

(be daring)82. Twosome

85. __ Act90. Nutrition abbr.91. Apartment dweller93. Handy homeowner, slangily94. Walked upon96. Prohibition-era whiskey

99. The __ Experiment100. Seine tributary

104. Temperance movementleader Carry __

105. Borden spokescow108. Arlington, Va. is in it110. Harbor craft111. Wayne Wheeler,

prohibitionist known asthe “__ boss”

112. Like excellent pastrami113. Little guy’s nickname116. Square-dancing call119. St. __’s Day Massacre121. Prohibition-era profiteer125. Sense of self

101. Law-enforcement orgs.102. Chunks of history103. “__ Tu” (1974 hit)

126. Suffix with million127. Cotton __129. Wrapper weight130. Handle roughly

133. __ runner

DOWN

1. Filmmaker Burns2. Language suffix3. H.S. Jr.’s exam4. Ran like the dickens5. Be present6. Maze word7. __ Guinan, Prohibition-

era emcee of the 300 Club8. Coll. V.I.P.

134. Secluded valley135. Boat’s trail136. Times to call, in ads137. Prohibition Unit agent __

Einstein138. Get the point139. Downhill conveyance140. “__ went that-a-way!”141. Visibly embarrassed142. Jockey’s handful

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18

19 20 21 22 23

24 25 26 27 28

29 30 31 32 33

34 35 36 37 38

39 40 41 42 43 44 45

46 47 48 49 50 51 52

53 54 55 56 57

58 59 60 61 62 63

64 65 66 67

68 69 70

71 72 73 74 75

76 77 78 79 80

81 82 83 84 85 86 87 88 89

90 91 92 93 94 95

96 97 98 99 100

101 102 103 104

105 106 107 108 109 110 111

112 113 114 115 116 117 118

119 120 121 122 123 124

125 126 127 128 129 130 131 132

133 134 135 136 137

138 139 140 141 142

pbs.org/prohibition/crossword

Funding is provided by BANK OF AMERICA; CORPORATION FOR PUBLIC BROADCASTING; NATIONAL ENDOWMENT FOR THE HUMANITIES;

THE ARTHUR VINING DAVIS FOUNDATIONS; THE MONTRONE FAMILY through THE PENATES FOUNDATION; and PARK FOUNDATION, INC.

STARTS SUN OCT 2 8/7c

Custom: Integration

Full Page

Spread

34

WHY NEWSPAPER?

STRENGTHS

•  Immediacy, rapid audience accumulations

•  Broad market coverage •  Geographic selectivity, regional

and/or zip-code targeting •  Wide variety of unit sizes •  Opportunity for detailed copy •  Short lead time

LIMITATIONS

•  High out-of-pocket •  One day readership •  Cluttered environment •  Limited positioning guarantees •  Limited color opportunities •  Expensive to build continuity •  Inefficient for national advertisers •  Low pass-along rate

Newspaper best used: 1. As a “day of” reminder

2. To provide coverage within a local market/neighborhood 3. To communicate offers quickly and capitalize on its “on the day”

reach capability

35

NATIONAL LOCAL COLLEGE

NEWSPAPER TYPES

FREE DAILIES

IPAD

TYPES

DIGITAL Folded

36

NEWSPAPER UNITS

VARIOUS UNITS BY SIZE

FSI

37

A FEW TERMS

CUME: THE AMOUNT OF TIME IT TAKES FOR A PUBLICATION TO ACCUMULATE ITS FULL

READERSHIP

RATE BASE: THE MINIMUM GUARANTEED NUMBER OF READERS A CERTAIN ISSUE WILL ACHIEVE -

WHAT YOU PAY AGAINST

CIRCULATION: THE TOTAL NUMBER OF READERS A CERTAIN ISSUE DID

ACHIEVE

PLANNING + BUYING OOH

39

WHY OOH?

STRENGTHS

•  Broad reach •  Frequency builder •  Locations can be strategically

targeted •  Serve as a reminder medium,

supporting other vehicles

LIMITATIONS

•  Copy limitations •  Passive media •  Expensive out-of-pocket production

costs •  Potential high media costs •  Requires longer lead time with

regards to securing inventory and creative schedules

Out-of-Home best used: 1. To support specific geographic areas

2. To provide additional frequency to the media plan 3. To infiltrate niche locations

40

OOH TYPES

Billboards Street Furniture Transit AlternativeStandardized large format

advertising displays intended for viewing from extended distances,

generally more than 50 feet

Advertising displays, many that provide a public amenity, positioned in close

proximity to pedestrians and shoppers for eye-level viewing or at curbside

Advertising displays affixed to moving vehicles or positioned in

the common areas of transit stations, terminals, and airports

New products are constantly being developed

Bulletins Bus Shelters Buses Arenas & StadiumsDigital Bulletins Phone Kiosks Airports Convenience Stores

30-Sheet Posters/Premiere Newsracks Subway & Rail Video Networks8-Sheet Posters Urban Furniture Truckside Health Clubs

Walls/Spectaculars Shopping Malls Taxis Restaurant/BarsWrapped Vehicles Libraries & Museums

CinemaResorts & Leisure

Opportunities

65% of $ 16% of $

41

CLEVER USES

42

ALWAYS LOCAL

AGGREGATION CAN MAKE IT FEEL NATIONAL

43

HOW YOU BUY IT

Standard OOH contract is for a four-

week period

Longer is always an option, shorter is NOT always an

option

LENGTH

Almost ALL OOH incurs some sort of

production cost: posting, build-out, printing, re-sizing

PRODUCTION

44

HOW YOU MEASURE IT

DECFoot/Driving traffic past an ad exposure

EYES ON Number of people who actually

see the ad

MEASURES

45

BUYING PROCESS

AGENCY PARTNERS

AMPLIFYING VIA DIGITAL EXTENSIONS

47

DIGITAL AMPLIFICATION OF TRADITIONAL

Geolocation/Mobile

Websites

Search

Social

RADIO

Online Video

Interactive TV

Search

Social

TV

Augmented Reality

Website

Social

PRINT

Screen Interaction

NFC / QR Codes

#s

Social

OOH

THANK YOU