When it comes to using anything digital to advertise movies, the buzzword is “engagement.”
Unlike traditional movie advertising, such as trailers, billboards and bus ads, digital advertising is by nature interactive. Web banners expand with a click. Trailers are found, played and passed along to the next user via a share module. Games, quizzes and other content propagate due to the gleeful posting of high scores on Facebook. Engagement, advertisers hope, creates consumers who will go out and buy tickets to a movie, and tell their friends while they’re at it.
“Digital is 100% of an opportunity to engage with that user on a really emotional level,” Dimitry Ioffe, CEO of The Visionaire Group (www.TVGLA.com), states. “Make them laugh, make them cry, surprise them. The trailer and print is a very isolating individual experience. It’s just advertising talking directly at you and you don’t have a way to talk back or engage in any capacity.”
Besides being emotionally involving, the web allows users to easily e-mail a friend or post a link on Facebook, Twitter, Digg and a host of other sites. “How often do I see a billboard on the bus and run and tell a friend?” Jason Yim, CEO of Trigger LA (www.triggerglobal.com), asks. “For a conversion, the Internet’s a lot more powerful.”
Because most digital advertising requires the user to do some hunting or clicking, the medium has become an especially popular way to feed information to “fanboys” and “fangirls” who are already passionate about a comic book or novel that’s headed to theatres. On the Internet, a studio can post information about an anticipated project as soon as it’s announced in trade magazines, to “start controlling, creating an experience for the target person,” according to Ioffe. They can also reassure audiences about the direction the adaptation is taking.
Unlike traditional movie advertising, such as trailers, billboards and bus ads, digital advertising is by nature interactive. Web banners expand with a click. Trailers are found, played and passed along to the next user via a share module. Games, quizzes and other content propagate due to the gleeful posting of high scores on Facebook. Engagement, advertisers hope, creates consumers who will go out and buy tickets to a movie, and tell their friends while they’re at it.
“Digital is 100% of an opportunity to engage with that user on a really emotional level,” Dimitry Ioffe, CEO of The Visionaire Group (www.TVGLA.com), states. “Make them laugh, make them cry, surprise them. The trailer and print is a very isolating individual experience. It’s just advertising talking directly at you and you don’t have a way to talk back or engage in any capacity.”
Besides being emotionally involving, the web allows users to easily e-mail a friend or post a link on Facebook, Twitter, Digg and a host of other sites. “How often do I see a billboard on the bus and run and tell a friend?” Jason Yim, CEO of Trigger LA (www.triggerglobal.com), asks. “For a conversion, the Internet’s a lot more powerful.”
Because most digital advertising requires the user to do some hunting or clicking, the medium has become an especially popular way to feed information to “fanboys” and “fangirls” who are already passionate about a comic book or novel that’s headed to theatres. On the Internet, a studio can post information about an anticipated project as soon as it’s announced in trade magazines, to “start controlling, creating an experience for the target person,” according to Ioffe. They can also reassure audiences about the direction the adaptation is taking.
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