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DEVELOPING THE STORYBOARD Storyboards consists of two frames for each scene. The top frame represents the TV screen (visual). The bottom frame carries a description of the video (as per script) and the audio for that sequence (some storyboards carry only the audio portion). The number of sets of frames varies from commercial to commercial and is not necessarily dictated by the length of the commercial. There may be 4 to 12 or more sets of frames, depending on the nature of the commercial and the demands of the client for detail. The ratio of width to depth on the TV screen is 4 by 3. there is no standardsize storyboard frame, although a common size is 4 by 3 inches.

35 mm film or slide. Aspect ratio 4:3 (35x24 mm)

OTHER ELEMENTS OF THE COMMERCIAL 1. Opticals: Most commercials contain more than a single scene. Opticals devices or effects between scenes are necessary to provide smooth visual continuity from scene to scene. Among the most common are the following: CUT DISSOLVE One scene simply cuts into the next. It is the fastest change because it indicates no time lapse whatsoever. An overlapping effect is which one scene fades out while the following scene simultaneously fade in. Dissolve are slower than cuts. There are fast dissolves and slow dissolves. Dissolve are used to indicate a short lapse of time in a given scene, or to move from one scene to another where the action is either simultaneous with the action in the first scene or occurring very soon after the preceding action. An effect in which the scene actually fades into vision from total black (black screen)

FADE-IN

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FADE-OUT MATTE SUPER WIPE ZOOM

This is opposite of a fade-in. the scene fades into total black. Part of one scene is placed over another so that the same narrator, for example, is shown in front of different backgrounds. The superimposition of one scene or object over another. The title or product can be supered over the scene. The new scene wipes off the previous scene from top or bottom or side to side with a geometric pattern. A smooth, sometimes rapid move from a long shot to a close-up or from a close-up to a long shot.

Examples of storyboard

2. Soundtrack: The audio portion of the commercial may be recorded either during the film or videotape shooting or at an earlier or later time in a recording studio. When the soundtrack is recorded during the shooting, the actual voices of the people speaking on camera are used in the commercial. If the soundtrack is recorded in advance, the film or videotape scenes can be shot to fit the copy points as they occur; or if music is part of the track, visual

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action can be matched to a specific beat. If shooting and editing take place before the soundtrack is recorded, the track can be tailored to synchronize with the various scenes. 3. Music: Music has the ability to communicate feelings and moods in a unique way. As a result, the use of music can make or break a TV commercial. In some commercials, it is every bit as important as the copy or visuals. It is often used a background to the announcers copy or as a song or jingle that is integral to the ad. PRODUCING THE TV COMMERCIAL The job of converting the approved storyboard is done by TV production. There are three distinct stages to this process:

a. Preproduction includes casting, wardrobing, designing sets or

building props, finding a location or studio, and meeting with agency, client, and production house personnel.

b. Shooting encompasses the work of filming or videotaping all scenes in

the commercial. In fact, several takes are made of each scene.

c. Postproduction, also known as editing, completion, or finishing,

includes selecting scenes from among those shots, arranging them in the proper order, inserting transitional effects, adding titles, combining sound with picture, and delivering the finished commercial. THE RADIO COMMERCIAL Three elements the copywriter uses to create metal pictures, memorability, and emotion: words, sound and music. Words Words are the basic building blocks of effective radio commercials. They are used to describe the product, grab attention, create interest, build desire, and evoke a response from the listener. The warmth of the human voice may be all that is needed to communicate your message. Sound Used properly, sound can unlock the listeners imagination and create feelings. Any sound effect used should be necessary and recognizable; you should never have to explain it for the audience. The sound has to convey a special message or purpose; it has to attract attention and complement the words. Sound can be used to underscore a point; create feelings of suspense, excitement, or anger; and invoke almost any mood you desire.

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Music Music can be very powerful in catching the listeners attention and evoking feelings. Not for nothing has music been called the universal language. Different kinds of music appeal to different emotions: A minor is sadder than a major key; an increased tempo creates a sense of anticipation. Commercials are often set to music especially composed for them or adapted from a familiar song. A few bars of distinctive music played often enough may serve to identify the product instantly. Such a musical logotype usually lasts from 4 to 10 seconds. Jingles are a popular means of making a slogan memorable think of the music for Coca-Cola, Pepsi, and McDonalds over the years.

Example of radio commercial

WRITING THE COMMERCIAL Like the TV commercial, the radio commercial has an its basic ingredient the promise of a significant and distinctive benefit. Once the promise has been determined, you are ready to use your arsenal of words and sounds to

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communicate your product message. Here are some ways to vitalize the copy. Simplicity The key to producing a good radio commercial is to build around one central idea. Avoid confusing the listener with too many copy points. Use known words, short phrases, simple sentence structure. Keep in mind that the copy needs to be conversational. Write for ear, not the eye. Get in the habit of reading you copy out loud. Clarity Keep the train of thought on one straight back. Avoid side issues. Delete unnecessary words. Write from draft to draft until your script becomes unmistakably clear and concise. At the end of the commercial, your audience should understand exactly what youve tried to say. Coherence Be certain that your message flows in logical sequence from first word to last, using smooth transitional words and phrases for easier listening. Rapport Use a warm, personal tone, as if you were talking to one or two people. Make frequent use of the word you. Address the listeners in terms they would use themselves. Pleasantness Strike a happy medium; talk as one friend to another about the product or service. Believability Every product has its good points. Tell the truth about it. Avoid overstatements and obvious exaggerations; they are quickly spotted and defeat the whole purpose of the commercial. Be straightforward, you want to convey the impression of being a trusted friend. Interest Products and services are not fascinating in themselves; it is the way you present them that makes them interesting. Try to give your customer some useful information as a reward for listening. Distinctiveness Use every possible technique a fresh approach, a musical phrase, a particular voice quality or sound effect to give your commercial a distinct character. Compulsion Inject your commercial with a feeling of urgency. The first few seconds are critical; this is when you capture or lose the listeners attention. Direct every word toward moving the prospect closer to wanting the product. During the

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last 10 seconds, repeat your promise of benefit and register the name of your product. And do not forget to urge the listener to act without delay. SOME TECHNIQUE Radio copywriters can choose among many proven techniques to give more meaning to the copy, to help gain attention of the busy target audience and hold that attention for the duration of the commercial. Some of these techniques parallel those used in television. Straight Announcer Sometimes the simplest approach works best. In this commonly used and most direct of all techniques, an announcer or personality delivers the entire script. Success depend both on the copy and on the warmth and believability of the person performing the commercial. This approach works particularly well when a positive image has previously been established and a specific event is being promoted, like a sale. Two-Announcer In this format, two announcers alternates sentences or groups of sentences copy. The commercial moves at a fast pace and generates excitement. This technique gives a news flavour to the commercial. Announcer-Actor The listener may identify still more with the situation if the writer includes an actors voice reading or supplementing the message delivered by the announcer. Slice-of-Life The most successful and creative commercials give audience members something or someone to which they can relate. Overhearing bits of real-life conversation between children, parents, lovers makes the potential customer an active participant instead of a passive listener. One major problem in writing slice-of-life is that they must be done extremely well to be effective. Jingle-Announcer The song or jingle offers two advantages. As a song, it is pleasant and easily remembered presentation of at least part of the copy. As a musical sound, it is the advertisers unique property, which sets to commercial apart from every other ad on radio. Generally, an announcer is used in this flexible technique, which may be structured in countless ways. Most common is the jingle at the beginning of the commercial, followed by announcer copy; the commercial is concluded by a reprise of the entire jingle or its closing bars. Customer Interview The announcer may talk not with professional talent but with actual consumers who relate their favourable experience with the product or service or store. As a variation, the satisfied customer may deliver the entire commercial.

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Humor Tastefully handled, humor may be an ingredient in almost any technique. A slice-of-life scene can have humorous overtones, and even straight announcer copy may be written in humorous vein. Humor is often appropriate for low-priced package products, products people buy for fun, products whose primary appeal is taste, or products or services in need of change of pace in advertising because of strong competition. Combination Radio technique may be mixed in countless ways. Announcer, music, voiceovers, and jingles may be used in a single commercial. TIMING OF COMMERCIALS Time is the major constraint in producing a radio commercial. Most radio stations accept these maximum word lengths for live commercial scripts: 10 20 30 60 seconds, seconds, seconds, seconds, 25 words 45 words 65 words 125 words

MUSICAL COMMERCIALS Music can be a powerful tool for getting your product remembered. There are three main elements to writing commercial music:

Intro: The beginning of the song. The tempo and lyrics may be established here. Verse: The middle of the song. This is where the message is developed. There may be several verses.

Theme or chorus: May be the conclusion of the song.

METHODS OF DELIVERY There are three ways a radio commercial can be delivered: live, by station announcer, and prerecorded.

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The Live Commercial A live commercial is delivered in person by the studio announcer, disc jockey, newscaster, or other station personality; or perhaps by a sports reporter from another location. Though generally read from a script prepared by the advertiser, the commercial is sometimes revised to complement the announcers style. If time allows, the revised script should be approved in advance by the advertiser. Ad-libbing (extemporizing) from a fact sheet should be discourages because the announcer may inadvertently omit key selling phrases or, in the case of regulated products such as drugs, fail to include certain mandatory phrases. Station Announcer For a campaign dealing with a retail offer that will change frequently, advertisers often use a station announcer reading copy written by the agency. This is recorded at the station at no charge to the client sometimes even with the clients musical theme in the background. This type of delivery allows for frequent changes in copy at no cost. The Prerecorded Commercial Advertisers undertaking a regional or national campaign will not know local announcers capabilities. In any case, it would be impractical to write a separate script to fit each ones particularly style. Commercials for these campaigns are therefore usually prerecorded. Not only does this assure advertisers that the commercial will be identical each time it is aired, but it also allows them to take advantage of myriad technique that would be impractical in a live commercial. (Actually, in many instances, live commercials are recorded by the station so that they can run when the announcer is not in duty).