TV Advertising Jargon

The exact moment a response occurs. A response can be a specific trigger, such as the scanning of a QR Code within a TV Advert, or it could be a sale via telephone number. In all cases, an actual response is valued by it’s trigger, such as a specific schedule entry.

The process of, or the actual media which is part of a marketing communication. There are far more complex definitions of advertising, but in our context, we’d like to simply think of it as a way of letting people know about what you’ve got to offer (using TV!).

We’re calling this the TV Advertising revolution. Sky Adsmart is a technology that enables an unparalleled level of audience targeting – on major channels – in your local area.

We are not the broadcasters, so we don’t own the channels. The broadcasters own the TV channels and arrange the schedules. It is possible to buy TV advertising direct from the broadcasters, but we are able to negotiate harder, obtain better discounts and drive the best deal for you. Whilst we don’t plan the schedules, we do have a strong influence over how your campaign is booked. We won’t compromise on a single penny of your TV Media budget – we expect and demand the broadcasters deliver the best campaign for our clients. We’re on your side.

Concept Advertising Intelligence. This is the software and web app that we’ve developed to interpret response data and understand how to buy the most cost effective campaign with the highest response.

An independent company that approves (Clearcast Approval) or rejects TV Ads. They act on behalf of the broadcasters to ensure the broadcasters do not breach their OFCOM broadcasting licenses or ASA – Advertising Standards Authority rules. All TV Ads must have their Pre-Production Script approved before a final TV Ad can be presented to Clearcast with a Clock for final approval. The broadcasters will not schedule your TV Ad unless you have a Clearcast Approved Clock Number.

The unique ID alpha-numeric code that identifies a specific TV Ad. The clock contains the production / agency, the advertiser, the proposition name, the version number and the length. An example of a Clock would be CTS/MCMP001/030. CTS is Concept Television Studios, MC is My Company, MP is My Proposition, 001 is the version and 030 means the TV Ad is 30 seconds long. The Clock is presented in a visual coundown clock before the TV Ad begins. Clearcast require a new Clock for each submission or variation.

A campaign performance metric that divides the cost of a campaign or a campaign vector into the number of responses or leads generated. For example, a campaign costs £500 and generates 10 leads. The cost per lead is £50. We use CPLs to monitor campaign performance and identify new scheduling routes.

A campaign performance metric that divides the cost of a campaign or Television Advertising is sold by how many people see a TV advertising campaign. For instance, if your campaign ran two spots with 2000 viewers seeing each spot, and the CPT was £3.00, the cost of the campaign would be £6.00 (plus V.A.T. of course…). When you buy a TV advertising campaign, you will buy a number of viewers (calculated using TVR’s). It’s important to remember that the broadcasters will only sell TV Advertising based on viewers, not on the number of slots. Lastly, the broadcasters determin the CPT weekly based on demand and performance.a campaign vector into the number of responses or leads generated. For example, a campaign costs £500 and generates 10 leads. The cost per lead is £50. We use CPLs to monitor campaign performance and identify new scheduling routes.

The broadcasters not only base their fee on how many people see your ad, but also on when you broadcast it and what audiences are watching. You may choose a peak slot, a daytime slot or a late night / very early morning slot. A peak slot will be the most expensive as the most people are watching, so broadcasters choose to bump up the CPT.

Although they are different, in the context of TV they are similar. The broadcasters will charge you more money if your ad is seen by people higher up the food-chain with more disposable income.

The Director Of Photography is responsible for realising the look of you TV Commercial by capturing impressive visuals. They will be experts in getting the most out of a camera. Typically, the DOP will work closely with the Gaffer and Director. A DOP is often a dedicated role on higher-end productions, such as Concept TV’s Platinum TV Commercial / TV Advertising Package. On our more affordable tv packages, the DOP and Gaffer role is undertaken by a smaller crew.

This is the name given to the lighting expert. It is the Gaffer’s responsibility to construct the lighting (or, if you prefer a more artistic phrase, to ‘Paint the set with light’). They will work closely with the DOP to ensure the camera gets both the right balance of light as well as ensuring highlights and shadows are managed within the dynamic range of the camera. They’ll also work with the Set Designer and the Production Director to ensure the objectives of the scene are realised (e.g. is it dark and moody or a light airy morning scene?).

Each time someone watches a TV ad, they effectivley make up 1 impact. If a TV Ad is run in two breaks and that person views both, that equates to two impacts. TV is sold by the thousand impacts. So if only 1 person saw your ad, but they saw it 1,000 times, or 1,000 people saw your ad once, you would pay 1x the CPT figure.

Technology has moved on since the early days of television. With Time-shifting, On-Demand, Sky Adsmart and internet video catchup services growing in numbers every day, it has become appropriate to name the traditioal TV Advertising system. Linear (in this case) refers to the progressive (and uncontrolled from a viewer perspective) nature of broadcast content. A Linear TV Advertising campaign is based on buying advertising space against a TV programming schedule at a cost-per-thousand (CPT) rate

Marketing abbreviation that refers to comparative metric data strands presented within category specifications. E.g. Consumer response data filtered by schedule times and other variables. Modern TV / Radio Advertising Industry phrase relating to campaign performance metrics and analysis.

The initial work to prepare for a TV Ad shoot or Production. The Pre-Production process involves the script and storyboard development, Clearcast script approval and all other aspects of organising the production. We would advertise for actors and models, carry out auditions and finalise production dates.

The actual shoot and preparation of ‘assets’ which will be used during Post-Production.

The technical process of taking the assets gathered and produced during the Production stage and assembling them into a final TV Ad. At the end of this process, we would submit the TV Ad to Clearcast with a Clock Number for final approval. Once we get the all clear from Clearcast and you, we master the TV Ad and send it to the broadcasters digitally from our studio.

A 2 dimensional barcode type graphic. Most barcodes are 1D – meaning that they use different widths of lines to make up product codes. A QR Code uses an expandable and error-correcting system with letters, numbers and characters within a space made up of contrasting squares. QR Codes were initially created for complex part indexing with error (or damage) correction, but became mainstream when smartphones and tablet computers such as the iPad became established. They can be used in print and in TV Advertising to take a consumer directly to any specified page with a simple or complex URL. From a marketing perspective, they allow detailed performance tracking and an enhanced consumer experience – without relying on consumer memory or dedication to remember and input complex URLs or call specific telephone numbers.

Everything that appears in the shot, other than the actors is the responsibility of the Set Designer. They’ll select props, plan the layout of furnishing and work with the Gaffer to construct the complete look of the scene.

The processes involved in delivering a project. Concept uses a TV Advertising workflow to ensure appropriate delivery of TV Advertising projects within deadlines to anticipated standards.

The actual period of time on the TV Channel where a TV Ad is broadcast. In all cases, the broadcasters will not allow you to simply buy a slot. Instead, you must buy a number of viewers and choose the timebands you want your ad broadcast in.

This is the name given to the activity where a viewer records or pauses a live TV Broadcast to watch later. They will do this using a digi-box with a hard-disk or SSD for storing video content. ‘Timeshifters’ that watch pre-recorded broadcast content may choose to fast-forward through the ad breaks. Some agencies suggested that a viewe will still see some clips of a TV Commercial, but this was a poor claim to hide an industry wide problem. However, the majority of TV Advertising is still viewed in read-time, so the commercial break cannot be skipped. Furthermore, Sky Adsmart uses technology to record when the viewer has seen more than 75 percent of your TV Commercial – so advertisers only pay if the target viewer has seen the majority of the ad in real-time.

It may seem obvious that TV refers to the little (or large!) colourful box in the corner of the living room, but it is actually far more than that. As a medium, TV can be received through mobile phones, tablet computers, laptop and desktop computers, portable TVs, car entertainment systems and even some clever wrist watches!

Your TV campaign will be bought against TVRs. It stands for Television Rating – which is a percentage of a specific Universe..! Don’t panic, universe is also explained here…

Most people know them as TV Adverts, but in the trade, they’re called TV Ads. You’ll also find them called all of the buzz words above 0 but they are the same thing. We prefer to use the term ‘TV Ad’ or ‘TV Advert’ because that’s what they are…

The process of buying advertising space on a TV Channel.

In TV land, Universe refers to the total number of people that have the potential to make up a viewing audience. The number of people in a Universe figure are not the same as the people that watch a show or TV ad (See Impacts…). For instance, if there were 10 adults in the UK that had a TV, the All Adults Universe figure would be 10. If of those 10, 3 fitted the ABC1 category, the ABC1 Adults Universe would be 3.