T-Mobile Royal Wedding, created by Saatchi & Saatchi
Launched April 15, 2011
JK Wedding Dance, Original
Posted July 19, 2009.
Procter & Gamble has agreed to never again run an ad for its CoverGirl mascara because it used “enhanced post-production” and “photoshopping” to make eyelashes look thicker than they were in real life. P&G agreed to the ban even though it disclosed in the ad that the image was enhanced.
The move is the latest in a series of baby steps that U.S. and international advertising regulators have taken to ban the use of Photoshop in advertising when it is misleading to consumers.
The company’s decision was described in a ruling by the National Advertising Division, the U.S. industry watchdog that imposes self-regulation on the advertising business. NAD is part of the Council of Better Business Bureaus. Its rulings are respected and followed by most advertisers because it enjoys a close relationship with the FTC, from which it has historically drawn some of its senior staff. Recalcitrant advertisers who refuse to withdraw or amend misleading ads are referred by the NAD to the FTC, which has the power to fine, sue or bring injunctions against companies.
When asked whether this was a de facto ban on Photoshop, NAD director Andrea Levine told us:
“You can’t use a photograph to demonstrate how a cosmetic will look after it is applied to a woman’s face and then – in the mice type – have a disclosure that says ‘okay, not really.’”
The ad in question was for CoverGirl NatureLuxe Mousse Mascara, which promised “2X more volume” on women’s lashes. After reviewing the ad, P&G agreed to yank it. (A different CoverGirl ad is shown here.) The NAD ruling said:
“… [P&G] advised NAD it has permanently discontinued all of the challenged claims and the photograph in its advertisement. NAD was particularly troubled by the photograph of the model – which serves clearly to demonstrate (i.e., let consumers see for themselves) the length and volume they can achieve when they apply the advertised mascara to their eyelashes. This picture is accompanied by a disclosure that the model’s eyelashes had been enhanced post production.”
In a footnote, the NAD said it was following the lead of its sister body in the U.K., the Advertising Standards Authority, which in July banned cosmetics ads featuring Julia Roberts and Christy Turlington because they used Photoshop. The NAD said:
“Advertising self-regulatory authorities recognize the need to avoid photoshopping in cosmetics advertisements where there is a clear exaggeration of potential product benefits.”
“… the picture of Ms. Roberts had been altered using post production techniques (in addition to professional styling, make-up, photography and the product’s inherent covering and smoothing nature which are to be expected), exaggerating what consumers could expect to achieve through product use.”
The U.K. ruling found the use of photo retouching misleading per se.
In the U.S., the FTC has has also tightened rules to hold celebrities accountable if they make claims in ads they know cannot be true.
And in France, in 2009, 50 politicians asked for health warnings to be imposed on fashion ads if they showed retouched models’ bodies.
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One year and—barely—nine months. That’s what it has taken Apple to invade 19 percent of the total US portable game market, while the PSP sunk from 20% to 11%, and the Nintendo dropped 5%. And that’s only revenue.
Taking into consideration that games in the App Store are cheaper than in the PSP and Nintendo, and that 30,000 titles have been released since its July 2008 launch, I wonder if the actual unit sales figures are quite larger.
In the general gaming category, Apple has taken over 5% of the market, while the rest of the portables have increased to 24% from 20% and the home console market has dropped to 71% from 79%. Knowing about these sharp increases—and knowing that iPhone games are still in their infancy—it’s not surprise that game developer are choosing the iPhone en masse.
Beer is yet another commodity and category that is being decimated by better quality alternatives. The means of production and distribution are no longer controlled by a very small number of big companies. Consumers find attractive alternatives in micro-brew beers or local beers. They have the means to access them (online) and have the product shipped directly to their homes. So no matter how much advertising the big companies do, if their product is just not that great, they will continue to lose customers to alternatives. The “lime” version of Bud Light was said to cannibalize sales of regular Bud Light. And rightly so, consumers are looking for a better product.
Fourth of July Holiday: Bargain Brands Gain, but Big Spenders Bud, Miller Lite and Corona Tap Out
Published: July 27, 2009
Despite a flurry of new and improved ad pushes for the country’s leading brews, the days leading up to Independence Day, usually the biggest-selling period of the year for the category, led to gruesome sales declines vs. the same period last year. Sales for Anheuser-Busch’s Bud Light and Budweiser plunged 7% and 14%, respectively, in grocery, convenience and drug stores during the two-week period ending July 5, according to scanner data from Information Resources Inc. Miller Lite suffered a 9% drop. The big importers were hurt badly too: Corona marketer Crown Imports watched sales decline 6% to 8%, while Heineken and Diageo each saw double-digit drops.
Taking the top box office results for each of 52 weekends from the past 10 complete years (1998 – 2008; Source: IMDB.com) we see consistently that occasions like Valentines, Memorial Day, July 4th, and Thanksgiving show increased movie going activity. People have more time during these holidays to go to the movies and Valentines is a date+movie occasion. Also, during the summer, many people go to the movie theatre to escape the heat so there is an overall hump every year during the summer months — from Memorial Day to Labor Day.
People go out during Valentines, Memorial Day, July 4th, and Thanksgiving. And they still spend what they planned to spend — 2 tickets for movie — they didn’t buy 2 more tickets and see a second movie on the same date or holiday weekend. If they had several good movies to choose from (often, they don’t), they would choose to spend the finite dollars on the one movie they really wanted to see. The overall movie spending “pie” did not increase much, if any, year over year.
1998 $4,055,194,733 n/a
1999 $4,253,601,768 5%
2000 $4,496,554,005 6%
2001 $5,003,433,737 11%
2002 $5,489,974,199 10%
2003 $5,581,797,720 2%
2004 $ 5,697,299,530 2%
2005 $ 5,524,566,579 -3%
2006 $ 5,660,826,625 +2%
2007 $ 5,968,027,963 +5%
2008 $ 5,887,193,490 -1%
The chart below shows a red line which is the average of all 10 years. The 10 thin blue lines are the annual lines from1998 – 2008, inclusive and these are plotted as actual dollars. They come out right on top of each other.
Movie advertising, which runs into the hundreds of millions of dollars a year, has failed to noticeably increase the overall spending year-round or even during specific times. The chart below shows the differentials (difference between an annual line and the 10-yr average line). These all hover closely in the +$50M and -$50M band. The amplitude of the 10-yr average (red line) is larger than $50M in the summer hump — implying that the average change in movie ticket sales due to normal seasonality is larger than the change in amplitude caused by ALL movie advertising combined.
And the summer “hump” is due to actual demand (people going out to movie theatres, some to escape the heat) not due to advertising. The only effect of advertising is to share-shift from one movie to another — the total spending remains consistent and even seasonal variations are consistent — a “zero-sum game.”
All-Time USA Box office
|Rank||Title||USA Box Office|
|2.||The Dark Knight (2008)||$533,316,061|
|3.||Star Wars (1977)||$460,935,665|
|4.||Shrek 2 (2004)||$436,471,036|
|5.||E.T.: The Extra-Terrestrial (1982)||$434,949,459|
|6.||Star Wars: Episode I – The Phantom Menace(1999)||$431,065,444|
|7.||Pirates of the Caribbean: Dead Man’s Chest (2006)||$423,032,628|
|9.||Star Wars: Episode III – Revenge of the Sith (2005)||$380,262,555|
|10.||The Lord of the Rings: The Return of the King(2003)||$377,019,252|
|11.||Spider-Man 2 (2004)||$373,377,893|
|12.||The Passion of the Christ (2004)||$370,270,943|
|13.||Transformers: Revenge of the Fallen (2009)||$367,614,540|
|14.||Jurassic Park (1993)||$356,784,000|
|15.||The Lord of the Rings: The Two Towers (2002)||$340,478,898|
|16.||Finding Nemo (2003)||$339,714,367|
|17.||Spider-Man 3 (2007)||$336,530,303|
|18.||Forrest Gump (1994)||$329,691,196|
|19.||The Lion King (1994)||$328,423,001|
|20.||Shrek the Third (2007)||$320,706,665|
|22.||Iron Man (2008)||$318,298,180|
|23.||Harry Potter and the Sorcerer’s Stone (2001)||$317,557,891|
|24.||Indiana Jones and the Kingdom of the Crystal Skull(2008)||$317,011,114|
|25.||The Lord of the Rings: The Fellowship of the Ring(2001)||$313,837,577|
Dr. Augustine Fou is Digital Consigliere to marketing executives, advising them on digital strategy and Unified Marketing(tm). Dr Fou has over 17 years of in-the-trenches, hands-on experience, which enables him to provide objective, in-depth assessments of their current marketing programs and recommendations for improving business impact and ROI using digital insights.
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