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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE

2014

    

This�is�to�provide�guidance�for�planning,�buying�and�scheduling�to�the�local
media�agency�and�set�the�advertising�strategy�for�a�business�year.�Share�this
with�the�creative�agency�as�well�and�ensure�the�media�agency�and�the�local�creative�agency
work�hand�in�hand.

Please�see�also�the�separate�MEDIA�GUIDELINE�-�WEBTV�MEDIA�GUIDELINE�-�CINEMA
MEDIA�GUIDELINE�-�RADIO�MEDIA�GUIDELINE�-�OOH�MEDIA�GUIDELINE�-�PRINT,
depending�on�the�relevancy�of�each�medium�in�your�country.

MARKETING AND RESULTING MEDIA OBJECTIVES - Locally relevant and


measurable
Give�the�media�agency�a�detailed�overview�of�what�you�want�to�achieve�next�year:�volume�objectives/
market�share/brand�KPIs,�key�strategies,�event�laydown�etc.�The�more�the�media�planner�is�informed�and
involved,�the�better�the�plans.
Share�with�the�media�agency�the�latest�insights�such�as�the�Global�Segmentation�Study�WORKSHOPS�/
PRESENTATIONS�that�might�have�an�impact�on�consumer�segments�you�want�to�specifically�target.�This
strategic�choice�might�also�impact�the�media�environment�to�plan�and�buy�for.
Set�specific�and�measurable�media�objectives,�based�on�your�latest�T&A�study.�Define�clearly�what�you�want
to�achieve,�with�whom�(specify�target�group),�and�by�when.

MEDIA PLANNING STRATEGY - National continuity with different campaigns in


different media
National�continuity�ideally�over�38-40�weeks�across�the�different�campaigns�with�the�right
media�mix�at�effective�and�efficient�weights.�Red�Bull�should�not�be�completely�off�air�for�more�than�2�months
in�a�row.
CARTOON�CAMPAIGN�is�the�back-bone�for�building�short-�and�long-term�equity,�ideally�2/3�of�national
weeks�on�air�support�the�Cartoon�Campaign.
WORLD�OF�RED�BULL�CAMPAIGN�establishes�the�whole�depth�and�breath�of�the�World�of�Red�Bull�with
a�national�audience.�Being�a�true�through-the-line�campaign,�the�same�look-and-feel�will�be�taken�to�the�POS
with�functional�messaging.

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

Brand�Building�Event�advertising�RED�BULL�FLUGTAG��and�RED�BULL�SOAPBOX�RACE�help�to�build
the�self-ironic�side�of�the�brand�image.
Event�Flanker�Campaign�in�host�countries�(World�Series�and�local�events)�should�be�an�exception�on
national�TV�(e.g.�for�selling�a�large�#�of�tickets�for�a�new-to-the�country�event).
Product�Initiative�Campaigns�for�RED�BULL�EDITIONS�or�RED�BULL�ZERO�have�the�goal�of�achieving
50%�aided�awareness�over�the�2�years�after�launch.
EVERGREEN��product�communication�will�happen�continuously�over�the�year,�will�however�not�create�a
coverage�big�enough�to�be�counted�as�"national".

TARGET - "Aspirational age" extended to the 30s is the creative target within the
attitudinal target
1. Brand�attitudinal�target:�Everyone�who�wants�to�perform�physically�and/or�mentally�and�with�a�zest�for
life.
2. The�creative�target:�consists�of�the�18-34�year�olds�in�the�brand�s�attitudinal�target.�and�has�a�special
focus�on�university�age�(the�aspirational�age�of�20-21�in�particular)
3. Media�target�group:�Ideally�same�as�the�creative�target�18-34.

Maximize�performance�against�the�creative�target�and�ensure�we�reach�the
attitudinal�target�well.�Please�also�share�deliveries�for�the�different�age�breaks�15-19,�20-29,
30-39�and�40-49�separately,�as�media�consumption�is�very�different�in�those�age�breaks.
Make�sure�to�reach�the�defined�optimum�level�both�for�the�male�and�the�total�target.
Since�the�male�target�is�often�more�difficult�to�reach�than�the�total�target�audience�and�Red�Bull
users,�trialists�and�competitive�users�have�a�strong�male�skew,�make�sure�to�have�the�media�pressure
corresponding�to�their�clutter�.�Those�markets�that�have�a�too�strong�male�skew�in�the�user�base
(>60%�males),�ensure�sufficient�deliveries�on�females�according�to�the�clutter.
You�can�choose�a�different�media�buying�target,�but�only�if�the�target�deliveries�amongst�media
target�are�achieved�in�a�more�cost�effective�way.�The�deliveries�are�to�be�measured�and
reported�against�the�creative�and�male�target�(or�the�closest�possible�to�it�that�is�measured
in�your�country)�and�not�against�the�buying�target!
The�media�agency�needs�to�analyze�the�target�audience�(interests,�media�usage,�and�everything
that�is�relevant�for�planning)�to�find�the�highest�affinity�media�/�scheduling�&�programs�for�Red�Bull.
For�Zero,�please�note�that�the�core�target�group�is�specified�as�males�25-39.

MARKET AND MEDIA CONSUMPTION UNDERSTANDING


Define�the�relevant�competitors�whose�activities�will�then�be�analyzed�by�the�media�agency.�We�do�not
replicate�their�media�strategy�(e.g.�burst)�and�do�not�over-invest�because�they�do�(do�not�consider�SOV
because�media�is�just�one�part�of�the�comprehensive�Red�Bull�marketing�mix�which�competition�often�does
not�have).�The�best�competitive�strategy�is�to�implement�our�strategy�=�continuity�with�the
right�media�mix.
The�media�agency�needs�to�analyze�the�impact�of�the�Global�Segmentation�Study,��special�market
conditions/media�landscape�dynamics�that�need�to�be�taken�into�consideration.�Plan�a�MEDIA�REVIEW�as�a
starting�point�for�a�yearly�BP�plan,�ideal�timing�is�July.

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

Digital�media�(web,�mobile,�gaming,�digital�print�and�outdoor)�consumption�amongst�our�target�continues
to�grow,�so�it�is�critical�to�understand�how�we�can�reach�the�target�effectively�(media�and�creative�formats).
Whenever�possible�start�on�integrated�TV+webTV�planning,�as�this�helps�getting�additional�reach
while�avoiding�the�high�cost�"last�points�on�the�TV�reach�curve".

MEDIA MIX SELECTION - Different for each campaign, avoid unnecessary overlaps
Use�a�varied�media�mix�to�get�the�continuity�throughout�the�year�(minimize�overlaps
between�different�media�for�CARTOON�CAMPAIGNS�)�-�ideally�be�on�air�in�cinema�/�TV�(+�web�TV)�/
radio�over�38-40�weeks�per�year.
Minimum�TV�presence�of�10-12�weeks�Cartoon�Campaign,�and�4-6�weeks�WoRB�(only�in�case�it�is�a
strategic�choice�for�a�country�to�run�WoRB�at�all).
Each�campaign�has�a�recommended�media�mix�and�the�media�agency�should�think�creatively�of�using
the�strongest�locally�relevant�media�mix�(not�automatically�"all�on�the�list")�which�optimizes�impact�while
minimizing�waste�(in�contacts�and�budget).
CARTOON�CAMPAIGNS�/�RED�BULL�FLUGTAG�CAMPAIGN�/�RED�BULL�SOAPBOX�RACE�CAMPAIGN�/
WORLD�OF�RED�BULL�2014�CAMPAIGN�cinema,�TV,�(web)�radio,�web�TV�(if�relevant)�as�the�campaign
format�requires�a�dynamic�medium,�web�display�or�rich�media�ok�for�all�campaigns�except�Cartoon.�No
"classic"�print�or�OOH.
Event�Flanker�Campaign:�(local)�TV,�(local)�cinema,�radio,�print,�OOH,�digital�media.�Please�find�the
respective�recommended�mix�for�the�different�events�in�the�respective�campaign�paper�on�the�CAMPAIGNS�-
ADVERTISING�platform.
Product�initiatives�support:�OOH�and�digital�media�depending�on�your�individual�launch�phase�in�the
country�PRODUCT�&�PACKAGING�INITIATIVES

MEDIA PERFORMANCE - Frequency is set as constraint, then maximise effective


reach accordingly
Effective�reach�2+�and�frequency�per�flight�(not�GRPs�/�TRPs�/�etc.)�are�the�primary
planning�figures�in�TV.�MEDIA LEVER RECO PER COUNTRY
The�HQ�recommended�OTS�range�is�set�as�a�constraint�for�both�Cartoon�and�WoRB�campaigns�in
the�creative�and�the�male�target�group.�The�effective�2+�reach�is�to�be�seen�as�minimum�effective�level.�If�you
get�a�higher�2+�effective�reach�without�paying�more�and�still�respecting�the�OTS�range,�go�for�it!
Ideally�maximize�overall�reach�1+�and�2+�for�Cartoon�Campaign�across�all�flights
cumulated�for�the�year�by�reaching�new�people�with�each�flight�and�not�increasing�reach�above�the
effective�and�efficient�level.�Yearly�OTS�is�important�for�checking�wear-out�benchmark�wear-out�is�between�4
and�7�OTS�per�copy.
Brand�building�events�and�the�Event�Flanker�Advertising�are�one-off�/�talk�of�the�country�campaigns,�thus
optimize�on�higher�OTS,�(minimum�4�per�flight,�depending�on�the�clutter�of�the�country�details�in�the��TV
Planning�Guidelines�on�page�5�below).
Same�principle�of�maintenance�weights�should�be�followed�for�CARTOON�CAMPAIGN�in
radio,�cinema,�web�TV,�according�to�local�market�specifics�and�available�readings.�We�should�always
aim�at�maximizing�total�reach�and�reach�at�respective�effective�levels�(3+�and�6+).�A�radio�campaign�can
be�considered�as�"national�weeks�on�air"�if�you�reach�approximately�50%�at�3+�effective�frequency.

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

For�WebTV�we�aim�at�a�max�2�frequency�per�copy�for�the�Cartoon�Campaign�and�max�3�for�Brand
Building�Events,�WoRB�and�Event�Flanker�per�flight.
For�details�of�planning�per�medium�see�the�respective�Media�Guidelines�within�the�MEDIA�-�ADVERTISING
space.

MEDIA ENVIRONMENT - A fit with Red Bull brand is required


Must�be�image-oriented�to�support�the�brand�positioning�&�certain�media�environments�need�to
be�avoided�(across�media,�including�web):
Reality�shows�type�Big�Brother�or�Jersey�Shore,�dating�shows,�sex�shows,�court�shows�because
voyeurism�is�not�compatible�with�Red�Bull.�Shows�including�real�people�but�with�high�entertainment
character�are�ok�provided�affinity�to�our�target.
Formula�1�and�other�sport�events�where�Red�Bull�is�an�integral�part�of�the�broadcast�because
advertising�there�would�undermine�the�credibility�and�impact�of�editorial�communication.�Placement
in�the�environment�of�sport�programs�where�Red�Bull�is�not�directly�present�is�fine.
Exclusivity�must�be�guaranteed,�i.e.,�not�in�the�same�ad�break�as�other�energy�drinks.
Magic�Moments:�High�involvement�programs�/�high�attention�day�parts�in�TV�lead�to�higher�impact�of
advertising�aired�in�this�context.�Same�holds�true�for�big�impact�live�events�in�TV�which�do�not�only�reach
the�broadest�audience�but�also�at�the�highest�consumer�involvement�consider�them�for�your�yearly�program
mix.�See�more�details�about�TV�programs�favored�by�"TV�talkers"�in�the�attached�RESEARCH�ON�MAGIC
MOMENTS.�Sports,�News,�Comedies�and�Movies�seem�to�be�commonly�strong�programs�in�all�countries�of
the�study.
Always�prefer�spot�buy�to�run�of�schedule�or�run�of�program�buy,�as�it�enables�you�to�"cherry-pick"�the
programs�you�are�airing�in.�Same�applies�for�webTV,�digital�should�get�aligned�with�Headquarter�as�real
time�optimization�buying�of�audiences�has�proven�effective�for�specific�campaigns.

GEOGRAPHIC SPENDING
Usually,�media�is�national�in�line�with�target�group�distribution.�Regional�only�in�the�case�of�events�or
regional�business�issues.�Countries�with�regional�buy�should�consider�a�bottom�up�build�of�their�plan�to
ensure�the�right�deliveries�in�each�region.�A�"top�down�approach"�is�also�possible,�balancing�out�regional
underdeliveries�of�the�national�plan�on�a�spot�basis.

SCHEDULING
Always�rotate�3�Cartoon�Campaign�copies�on�TV�during�12�months�then�change�over�to
3�new�copies.�Ideally�pick�one�of�these�new�copies�and�air�it�upfront�in�cinema�/�web�TV.�Depending
on�how�much�you�are�present�in�cinema�you�can�use�up�to�all�3�TV�copies�you�air�during�the�year.�See
CARTOON�CAMPAIGNS

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

In�case�radio�is�a�crucial�medium�in�your�market,�use�the�radio�versions�of�the�TV�copies�once�they�are
established�in�TV�(after�1-2�TV�flights).�This�is�the�recommended�approach.�Only�if�no�radio�versions�of�your
TV�copies�are�available�use�stand-alone�radio�copies�CARTOON�CAMPAIGNS�Think�differently�about�radio
listened�to�on�the�web�as�this�can�be�only�a�click�away�from�the�images.
WoRB�will�have�one�new�campaign�per�year�to�be�aired�in�one�(stronger)�TV�flight.�The�additional�stand-
alone�copies�available�are�meant�mostly�for�webTV�to�deepen�the�WoRB�story�with�locally�relevant�aspects.
See�WORLD�OF�RED�BULL�2014�CAMPAIGN
Think�of�any�new�campaign�(or�best�new�cartoon�copy)�as�a�movie�release�and�create
something�special�for�the�first�airings�e.g.�strong�affinity�cinema�or�web�TV,�top�destination/
Magic�Moment�program�on�TV�so�that�we�create�some�talk�about�it�amongst�the�highly�affine�target�and
advertising�/�media�communities.�If�longer�copies�(e.g.�60�WORB)�are�available,�use�it�for�these�Magic
Moments�.
Spend�2/3�of�budget�in�1st�half�year�(=�front-spend)�and�avoid�high�clutter�periods.
Follow�media�consumption�of�the�target,�e.g.�no�TV�during�big�(summer)�school�vacation,�go�for�radio�or
cinema.�We�believe�our�(attitudinal)�target�to�be�out�and�moving�in�those�periods,�although�many�markets
still�show�good�ratings�in�the�overall�buying�audience.

COPY FORMAT
For�Cartoon�Campaign�in�TV�we�have�mainly�30�copies�and�some�(cut-downs�of�30�to)�20�CARTOON
CAMPAIGNS
Also�the�Brand�Building�Events,�WORB�and�the�Event�Flanker�advertising�TV�copies�are�mainly�in�30�.
The�15�and�20�should�be�used�only�once�the�event�&�event�advertising�are�established�and�only�to�build
frequency�during�a�flight�for�selling�the�tickets.�In�some�cases�we�have�longer�length�versions�for�cinema�or
Magic�Moments�.�For�all�other�media�beside�TV,�cinema,�web�TV�see�the�respective�event�campaigns
For�web�TV,�we�only�consider�pre-roll�formats�aired�before�premium�produced�content�(ideally�5�minutes�or
longer).�Consider�target�affine�video�platforms�which�allow�airing�30"�copies�first.�Do�not�consider�in-banner
video�formats.�For�details�please�refer�to�the�MEDIA�GUIDELINE�-�WEBTV�or�contact�the�International�Brand
Marketing�Team.
Use�3D�cinema�spots�when�the�right�film�is�available�in�3D:�some�of�our�Cartoon�Campaign�spots�are
available�in�3D.�WoRB�spots�are�not�available�in�3D.

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ADDENDUM 1: TV PLANNING PRINCIPLES


 

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

OVERALL PLANNING PRINCIPLES FOR ALL CAMPAIGNS


1.�IDENTIFY�THE�RIGHT�TARGET�FOR�PLANNING�AND�BUYING

a)�Deliver�male�18-34�2+�reach�and�OTS�objectives,�then�check�what�this
planning�achieves�in�2+�reach�and�OTS�in�the�overall�target�(male�and
female)�and�"top�it�up"�with�female�ratings�in�case�of�need.

The�profile�of�the�Red�Bull�users�skews�towards�males�and�the�target�gender�split�is�60/40�for
males/females�respectively.
Females�watch�much�more�TV�and�thus�the�challenge�is�much�higher�to�reach�our�male�target.

b)�Maximise�cost�efficiency�Book�breaks�according�to�ratings�achieved�in�the�core�and
the�male�target�(18-34)�and�evaluate�related�costs�only�on�this�target�irrelevant�of�ratings
actually�achieved�in�older�or�female�only�targets.

2.�AIM�FOR�HIGH�QUALITY�FOR�TV�PLANNING/BUYING

a)�Choose�high�consumer�involvement�programs�&�daytime�for�higher
effective�reach�amongst�target.

Higher�involvement�programs�positively�impact�ad�recall.�A�German�study�on�attention�drivers
(length�of�tuning�and�affinity)�in�our�target�shows�a�very�distinctive�positive�skew�towards�action
films�and�a�negative�towards�reality�shows.�Higher�attention�means�positive�impact�on�advertising
aired�in�this�context.
Prime�Time�has�not�only�high�reach�but�also�high�attention�&�positive�moods,�leading�to�positive
impact�of�TV�advertising.�In�UK�and�DE�the�highest�TV�attention�and�positive�mood�(claimed
balanced,�relaxed,�cheerful�in�contrast�to�bored,�melancholic,�tired�)�in�our�target�is�in�Prime�Time
during�the�week�and�afternoon�+�Prime�Time�during�weekend.
Plan�your�campaigns�around�Magic�Moments�.�Ask�the�agency�for�the�list�of�top�live�rated�ad
breaks�during�programs�within�our�target�for�the�envisaged�period�to�create�more�buzz�than�usual
around�the�airing�of�the�new�copy.�Potentially�adapt�the�campaign�launch�to�the�availability�of
Magic�Moments�and�book�them�even�if�they�are�not�part�of�your�strategic�channel�mix�and/or�are
more�expensive�than�usual.�RESEARCH�ON�MAGIC�MOMENTS

In�most�countries�it�is�not�possible�to�read�any�media�data�on�our�attitudinal�target�and�in�the
few�countries�where�it�would�be�possible,�it�proves�to�be�inefficient..�What�works�though�is
to�use�the�local�knowledge�and�expertise�of�the�Media�Agency�to�make�sure�we�reach�the
attitudinal�target�in�the�most�effective�way�(media,�programs,�timing,�special�periods,�day
part).

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

b)�Day�part�mix�reflecting�the�target�group�behavior�and�the�Red�Bull
strategy.

Again�this�is�country�specific�and�sometimes�completely�driven�by�the�reach�and�OTS�targets�we
have.
The�choice�should�be�monitored�by�the�Agency�and�questioned�when�there�are�strange�patterns.
For�example,�overnight�(usually�after�1am)�may�reach�a�very�active�and�dynamic�group�of�people
if�we�choose�the�right�programs.�Or,�if�we�pick�cheap�trashy�shows,�it�may�also�only�end�up�with
couch�potatoes�aged�18-34�hanging�in�front�of�the�TV�day�and�night.�Furthermore,�pay�attention
to�the�#�of�viewers�during�the�night,�risk�is�high�to�always�reach�the�same�people�(low�reach,�high
frequency).
Early�afternoon�only�makes�sense�when�targeted�to�students,�otherwise�again�you�might�reach
"some"�people�but�not�the�right�attitudinal�target.

c) Media�Mix�according�to�the�actual�behavior�of�the�attitudinal�target. Don t use TV during summer holidays when our


attitudinal target is on vacation or out & on the go, but reach them with radio, etc.
Seize�special�opportunities�such�as�certain�radio�stations�during�exam�period,�late�at�night�when�students�are
all�studying �or�partying�after�the�exam.
Copies�we�cannot�use�in�TV�(for�regulatory�reasons)�can�be�used�in�other�attitudinal�target�affine�media,
e.g.�webTV,�student �dorms�or�cinema,�taxi�screens,�high�quality�high�involvement�screens�in�public�areas.
Pay�attention�to�the�right�copy�choice,�e.g.�only�use�copies�that�work�without�sound�if�sound�quality�is
not�guaranteed.�Use�those�copies�as�well�to�create�buzz�and�conversation�in�social�networks�by�sneak-
previewing�them�on�certain�blogs�and�spreading�them�virally�via�your�Consumer�Collecting�network

3.�CHECK�VALUE/MONEY�FOR�PREMIUM�POSITIONS�(FIRST/LAST�POSITION�IN�THE
BREAK�OR�FIRST/LAST�BREAK�IN�THE�PROGRAM)

In�most�countries,�special�placements�within�the�break�(e.g.�first/last�in�advertising�break)�are�proven�to
generate�additional�ratings.�However,�this�is�not�always�the�case,�because�of�channel�self-promo,�NGO
promo,�others�that�are�not�sold,�thus�not�considered�as�commercials,�or�people�arrive�too�late�after�the�break
and�miss�last�positions.
High�involvement�programs�and�shorter�commercial�breaks�positively�influence�the�impact�of�premium
positions.
In�some�countries�the�special�placements�are�either�extremely�expensive�(e.g.�in�Mexico�the�upcharge�is
25%-39%�which�is�not�justified�by�a�rating�increase�of�+25%,�since�there�is�anyway�a�minimum�natural
delivery�of�premium�positioning),�given�to�the�sponsor(s)�of�the�respective�program�or�not�specifically
bookable�(e.g.�fair�share�guaranteed�anyway).

a)�First�see�what�you�can�get�naturally�or�through�good�negotiation�(this�is�one
part�of�the�value�add�a�good�Agency�can�bring)�and�only�after�this�see�how�much
an�investment�may�generate�on�top.�The�same�logic�applies�for�break�position�in�the
program:�first�see�what�you�get�naturally�and�through�negotiation�and�then�determine�whether
a�position�in�the�first/last�breaks�in�a�program�is�worth�the�investment�it�would�take.�Again,

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RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

there�are�no�international�rules,�consumer�behavior�is�very�country-specific�in�this�respect.
Track�this�value�add�in�your�postbuy�report.

b)�Find�the�best�"value�for�money"�ratio�for�your�country�for�premium
position:

Do�the�first/last�in�the�break�positions�add�value�to�the�ad�airing�in�my�country�either�because�more
people�watch�them �(rating)�or�they�have�a�bigger�impact�(attention�and�consequently�recall)?
Are�the�premium�positions�real�first/last�or�actually�middle�positions�(check�if�the�first/last�positions
in�break�come �after/before�trailers,�self-promo,�others�not�counted�as�commercials)?
What�is�the�cost�of�these�premium�positions?
What�is�the�fair�share�or�natural�delivery�of�premium�positions�that�we�can�obtain�without�paying
for?

c)�Pay�for�premium�positions�only�up�to�the�value�add�they�generate�on�top�of
fair�share�or�natural�delivery�(no�payment,�based�on�negotiation).

4.�COPY�WEAR-OUT

A�commercial�will�lose�its�effect�over�the�time�of�its�airing�in�a�gradual�process,�there�exists�not
one�single�cut-off�point.�As�wear-out�threshold�we�use�the�cumulative�OTS�of�each�of�the�single
copies�over�the�12�months.�Benchmark�is�a�cumulative�OTS�between�4�to�7�OTS�for�the�year
for�each�single�copy.�Your�cumulative�OTS�for�Cartoon�Campaign�copy�should�not�be�higher
than�21�for�the�3�copies�with�even�rotation.�Another�rule�of�thumb�is�the�threshold�of�1.000
GRPs�per�copy.

CARTOON CAMPAIGN CONTINUITY SUPPORTED WITH EFFECTIVE BUT ALSO COST


EFFICIENT FLIGHTS

Red�Bull�plans�in�TV�on�effective�2+�reach�and�OTS�and�not�on�GRPs.�Although
GRPs�are�the�buying�units�in�most�countries,�they�need�to�be�the�output�of�the�optimizing�on
effective�2+�reach�and�OTS,�because�for�example,�if�you�buy�150�GRPs,�you�can�get�a�reach

8
RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

of�50%�and�3�OTS�(which�reflects�the�Red�Bull�strategy�quite�well)�or�you�reach�30%�of�your
target�5�times�(too�high�frequency!).

1.�Aim�for�continuity�over�the�year�at�maintenance�level,

Minimum�effective�2+�reach�in�order�to�reach�a�critical�mass�of�people,�the�number�is�based�on�the�total
advertising�clutter �in�your�market�and�is�provided�by�HQ.�It�is�ok�to�achieve�more�effective�2+�reach,�but
only�if�it�does�not�cost�a�lot�more.
The�recommended�effective�OTS�per�flight�is�a�maximum�OTS:�The�characteristics�of�the�brand�and�of�the
Cartoon�Campaign�(fresh,�entertaining�and�surprising)�are�undermined�if�the�same�consumers�see�the�same/
similar�spots�too�often�in�a�short�interval�of�time�(pls.�also�refer�to�double�spotting).�This�is�why�there�is�an
OTS�threshold,�it�is�proven�effective�in �getting�heard�but�prevents�the�brand�from�losing�any�of�our�campaign
charm.

2.�Most�efficient�flight�weight�and�length�in�order�to�maximize�continuity,
based�on�the�recommendation�of�the�local�media�agency.

Agency�to�recommend�the�most�efficient�GRP�level�that�delivers�for�one�TV�flight�the
minimum�2+�reach�with�the�OTS�as�constraint.�Usually�the�best�flight�length�is�based
either�i)�on�the�reach�build�up�curve�and�the�curve�of�diminishing�returns�(see�graph
below�left)�with�diminishing�return�no�more�than�20%�or�ii)�on�the�reach�curves�of�1+,
2+�and�3+�reach.�Where�the�3+�reach�crosses�with�the�2+�reach�(see�graph�below
right)�any�additional�rating�contributes�more�to�frequency�(i.e.�3+)�than�we�want,�so�it
becomes�not�efficient.

Most�common�is�a�flight�of�2-4�weeks.
If�you�can�get�higher�reach�with�the�same�resources�-�fine.�If�in�order�to�reduce�reach�you�need�to
compromise�on�the�quality�of�the�media�(late�night)�it�is�not�worth�it.
If�you�need�to�make�a�trade-off�between�maximizing�OTS�and�reach,�then�OTS�corridor�is�the�fixed
indicator�(both�min.�and�max.)�and�effective�reach�can�be�higher�than�recommended.�If�you�cannot

9
RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

achieve�the�recommended�reach�while�respecting�the�OTS�corridor,�please�contact�the�International
Brand�Marketing�Team.
Start�thinking�"integrated�planning"�(and �buying)�of�TV�and�webTV:�on�the�graph�below�you�see�that�by
adding�webTV�we�can�avoid�the�"expensive�last�reach�points"�on�the�TV�reach�curve�by�adding�webTV
reach.�A�data�fusion�with�the�best�estimate�of�reach�by�your�agency�is�the�best�first�step�in�the�right�direction
in�case�there�is�no�cross�platform�rating�reading�available�(in�testing�phase�in�some�countries).

3.�Replicate�this�effective�and�most�efficient�TV�flighting�pattern�throughout
the�year.�The�agency�has�to�recommend�also�the�best�flighting�pattern�to�maximize
continuity�considering�as�well�the�ideal�off-air�periods�and�the�budget�constraints.�When
modelling�the�awareness�curve�for�the�year,�use�a�decay�factor�of�10%�for�Red�Bull�Cartoon
Campaign�(unless�you�have�local�specific�information):�consumers�need�regular�reminders
of�your�message,�otherwise�they�forget�what�you�tell�them.�The�rate�at�which�they�forget�the
past�communication�is�called�decay�rate.�It�represents�the�%-loss�over�one�week�of�the�already
achieved�awareness.

4.�Having�minimum�working�level�(OTS/�2+�reach)�in�TV�instead�of�having
OTS-strong�flights�drives�continuity�(across�all�media).�The�HQ�recommended
media�level�is�sufficient�for�your�clutter,�provided�you�achieve�to�also�deliver�continuity.
Rather�than�trying�fighting�competition�with�OTS�strong�TV�flights,�use�the�money�of�OTS
reduction�for�continuity�&�media�mix�to�counter�competitive�pressure.�SOV�and�competitive
burst�strategy�are�not�relevant�since�the�overall�marketing�mix�is�different.�Consumers�don't
think�in�categories�when�exposed�to�advertising�so�TV�clutter�is�a�higher�influencer�than�share
of�voice.

10
RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

5.�If�budget�is�too�low�to�cover�the�whole�year�well�(10-12�TV�weeks)�than
we�strongly�recommend�upfront�spending�for�an�ideal�coverage�of�the�first�half�of
the�year.�This�way�you�give�a�kick-start�to�your�business�and�lay�a�good�brand�awareness
foundation.�In�case�business�performs�ahead�of�plans�you�can�choose�to�reinvest�in�further
media�in�the�2�half�of�the�year.

6.�Avoid�double�spotting�and�unit�dispersion

Target�is�zero�double�spotting�(ads�within�the�same�program�on�one�day�in�one�channel)�and
zero�unit�dispersion�(ads�within�60�minutes�in�one�day�in�one�channel).

This�is�specific�to�our�Cartoon�Campaign�ads:�They�have�high�impact�by�being�entertaining�and�surprising
but�this�works�only�when�they�are�fresh�and�they�are�definitely�not�fresh�when�seen�twice�within�one�hour,
even�worse�in�one�program.
Same�rule�of�zero�double�spotting�applies�for�Flanker�Advertising�where�we�aim�at�rounding�off�the�Red�Bull
brand�image�(i.e.,�again�be�fresh�and�surprising)�and�at�maximizing�net�reach�in�a�short�period�of�time.
In�highly�cluttered�markets�that�are�also�very�fragmented�(like�US)�or�where�channel�/�program�choice�is�very
limited,�we�need�to�have�more�spots�per�day�in�order�to�generate�our�target�reach.�In�these�countries�it�is
important�not�to�schedule�several�spots�within�the�same�program�and�the�same�program�types,�and�within�the
same�hour�on�one�channel,�unless�consumer�data�show�a�different�watching�behavior.�Channels�try�to�keep
their�target�audience�captive�so�they�schedule�consecutive�programs�appealing�to�the�same�audience.�There
are�high�chances�that�consumers�will�watch�consecutive�programs�of�the�same�channel�and�thus�see�us�twice.

No�issue�in�the�countries�where�we�reach�our�targets�with�+/-�1�spot�per�day�or�about�1�spot
per�channel�per�day.

WoRB, BRAND BUILDING EVENT AND EVENT FLANKER CAMPAIGN TV PLANNING:


CREATE HIGH AWARENESS IN LIMITED TIME
 

WoRB

11
RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

TV/webTV AND CINEMA PLANNING


As�the�WoRB�campaign�is�already�established,�it�requires�lower�weights�than�in�the�past�to
create�the�respective�advertising�awareness.�Plan�therefore�2�consecutive�flights�separated�by
a�short�(e.g.�three�weeks)�off�air�period�with�the�following�recommended�weights:

First�TV�flight�Making�a�statement�:

This�first�flight�should�include�the�airing�of�the�60�copy�in�Magic�Moments,�so�plan�the�timing�of�the�flight
according�to�the�availability�of�the�locally�relevant�Magic�Moments.�As�in�the�past,�the�GRP�weight�of�the�60
should�be�equal�to�10%�-�15%�of�the�total�GRPs�planned�for�the�two�WoRB�flights�in�total.
Start�the�planning�of�the�flight�by�taking�the�heavy�up�weights�of�the�HQ�recommendation�for�flanker�for�your
country�in�the�CLUTTER�UPDATE�2014�(calculated�on�a�basis�of�a�3�weeks�flight),�and�look�at�the�GRPs�you
would�plan�in�such�a�flight�for�each�single�week.
Take�those�weekly�weights�and�plan�each�of�the�first�two�weeks�of�your�first�WoRB�TV�flight
at�this�respective�weekly�GRP�pressure�(i.e.�the�first�two�weeks�are�at�weekly�heavy-up�level
to�make�a�statement).
Add�one�more�week�going�=�non�heavy�up�weights�,�i.e.�with�the�weekly�GRP�pressure�you
plan�when�airing�Cartoon�to�round�up�the�first�WoRB �flight�to�three�weeks�on�air�in�total.
This�will�result�in�a�total�2+�reach�and�frequency�of�your�first�TV�flight�slightly�below�the
recommended�heavy-up�Flanker�weight�,�but�you�will�have�a�second�flight�to�establish�the
campaign�further.

             

Second�TV�flight�Build�WoRB�continuity�of�message�:�after�a�short�period�off�air�following�the
airing�of�the�first�WoRB�flight,�plan�one�more�WoRB�flight,�but�at�going�=�Cartoon�weights.�The�flight�pattern
does�not�need�to�be�the�same�as�you�have�for�Cartoon�(e.g.�3�weeks�in�),�but�needs�to�fulfill�in�total�the�2+
reach�and�OTS�requirements�of�the�HQ�recommendation�for�Cartoon.�The�flighting�pattern�should�be�based
on�the�agency�s�recommendation�on�how�to�maximize�continuity�and�can�therefore�potentially�also�include�a
one�week�in-one�week�out�pattern.�Please�ask�the�agency�to�simulate�the�best�flighting�pattern�and�share�the
rationale�of�your�final�recommendation�with�HQ�together�with�the�submission�of�the�plan�(as�attachment�in
RAMP).
The�whole�campaign�(i.e.�first�+�second�flight�+�off�air�periods)�needs�to�be�limited�to�a�maximum�of�11
weeks
Objective�is�to�maximise�2+�effective�reach,�but�do�not�increase�double�spotting.�Even�though�we�want�to
create�awareness�in�a�limited�period�of�time�we�do�not�want�to�confront�the�same�viewer�with�the�same
message�within�the�same�day�and�within�60�minutes.

BRAND�BUILDING�EVENT�AND�EVENT�FLANKER�(IF�IT�APPLIES�FOR�NATIONAL
TV)�SUPPORT

As�this�is�a�once�off�support,�we�are�not�planning�with�the�continuity�and�maintenance�weights
of�Cartoon�Campaign.�Still,�the�overall�principles�of�TV�planning�outlined�above�apply�all�the
same.

12
RED BULL MEDIA STRATEGY AND BRIEFING GUIDE 2014

Use�the�"Flanker"�heavy-up�weights�uptlined�for�your�country�in�the �CLUTTER�UPDATE�2014
Based�on�these�weights�start�building�an�optimum�flight.�Look�at�an�alternative�flight�length,�as�it�might�help
you�achieving�your�targets�more�quickly�and�efficiently.
Watch�out�carefully�to�still�respect�the�guidelines�on�double�spotting.
For�ticketed�events,�please�watch�out�for�the�two�phases�(overall�awareness�and�ticket�selling)�that�are
different�to�non-�ticketed�events�(overall�awareness�and�people�simply�attending�the�event).�Please�see�the
overall�Advertising�CAMPAIGNS

13

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