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Perspektif: Ingin Iklan yang Sukses? Jadilah Kreatif

6 menit dibaca | Carl Marci, Kepala Ilmuwan Saraf | Oktober 2017

Pada suatu pagi baru-baru ini, sebuah diskusi dadakan terjadi di kantor mengenai apa yang membuat iklan yang hebat. Kami mendiskusikan beberapa iklan favorit kami baru-baru ini dan, seperti yang bisa dibayangkan, berbagai saran tentang iklan mana yang terbaik sangatlah luas. Bentuk pendek dan bentuk panjang. Lucu dan sentimental. Didorong oleh produk dan berfokus pada merek. Rasional dan emosional. Meskipun panjang dan objektifnya beragam, ada satu hal yang jelas: Iklan-iklan tersebut merupakan iklan yang "wajib ditonton" - bukan pengisi waktu jeda program, tapi iklan kreatif yang hebat yang ingin kami bicarakan, bagikan, dan tonton lagi dan lagi.

Saya diingatkan akan pentingnya materi iklan yang hebat saat saya meninjau hasil dari proyek penelitian baru yang dilakukan oleh Nielsen Catalina Solutions (NCS) dan Nielsen. Hasilnya memperkuat pandangan lama tentang periklanan: kreatif adalah raja! Kreatif adalah hal yang mendorong kita untuk terlibat, berbagi, membicarakan, memperdebatkan, mengingat, dan membeli. Materi iklan memiliki kekuatan yang besar, di mana pun, kapan pun, dan bagaimana pun caranya. Bahkan, iklan Apple pada tahun 1984 untuk memperkenalkan komputer Macintosh tetap menjadi salah satu yang paling banyak dibicarakan sepanjang masa-dan ditayangkan hanya satu kali di TV nasional.

Studi ini berusaha untuk mengukur kontribusi penjualan dari lima pendorong utama yang berkontribusi terhadap efektivitas iklan: kreatif, jangkauan, penargetan, kemutakhiran, dan konteks. Temuan studi menunjukkan bagaimana keseimbangan relatif antara pendorong ini telah berubah dari waktu ke waktu dan bagaimana cara kerjanya di seluruh saluran TV dan digital. Aspek yang paling menarik bagi saya adalah hasil penelitian ini menunjukkan bahwa kualitas kreatif memberikan kontribusi yang sama besarnya terhadap kesuksesan sebuah merek di pasar, seperti halnya semua faktor lain yang digabungkan. Lebih lanjut, studi ini menemukan bahwa ketika kreatifitasnya kuat, maka hal tersebut merupakan pendorong utama kesuksesan di pasar: hingga 80% untuk TV tradisional dan 89% untuk iklan digital. Sebaliknya, ketika kreatifitas lemah, peningkatan penjualan akan lemah di TV dan digital, dan faktor media lainnya adalah pendorong utama.

Singkatnya, materi iklan yang bagus tetap menjadi faktor terpenting dalam keberhasilan kampanye iklan, baik di TV tradisional maupun platform digital. Alat dan teknik baru dapat meningkatkan, memperluas, dan menjangkau target dengan lebih baik, dan format serta tujuan baru tampaknya muncul setiap hari untuk membantu pengiklan menemukan konsumen mereka. Namun, semua itu tidak dapat menandingi kekuatan yang diberikan oleh materi iklan yang hebat dalam mendorong kampanye iklan yang benar-benar sukses.

This, of course, raises several questions: What is great creative? How do marketers know if their creative is “great?” And how do they achieve great success with it?

In the past, marketers have relied on qualitative and/or quantitative self-report copy testing to evaluate creative. Essentially, they made decisions based on biased consumer responses often aided by their professional eyes and instincts. Essentially, they went with what they thought would work. While this may have kept very poor advertising off the air, it left some potentially great work on the drawing board. And if they had a piece of creative they needed to cut down/compress, they might have relied on personal judgment.

This is where consumer neuroscience increasingly plays an important role for marketers. That’s because the current suite of tools combining EEG, eye tracking, facial coding and biometrics, along with self-report surveys, offer a unique opportunity. Not only can these tools measure and evaluate on a macro level (i.e., what works and what doesn’t), they go even deeper, providing moment-by-moment insight that can pinpoint where a spot(s) needs to be adjusted. The results enable a collaborative approach between marketers, creative agencies and researchers to help go from early stage to primetime success—avoiding the cutting-room floor that has claimed too many could-have-been-great ads. This is because consumer neuroscience measures what traditional research methods cannot. Methods like surveys can only tap into our conscious responses, which we know are often heavily biased and are only one, arguably smaller, component of how we consume media. Studies have shown that the majority of our decision-making happens non-consciously, so much of what drives everyday decisions—including what we’ll purchase, watch and talk about—requires tools that can measure these responses.

Several years ago, we developed a model designed to understand the explosion in content platforms and the types of creative that can be optimized for each. Our Brand Immersion Model became a framework for defining the relationship between the immersive platform of TV and digital’s flexible platforms. Our research found that TV, through its unmatched ability to create new, unconscious emotional connections, has the power to form need states—which make consumers receptive to brand messages—where none existed before. Flexible environments play a key role in reinforcing need states. So the two work together in powerful, synergistic ways.

It’s important to understand this relationship in order to develop creative that will be great on each platform. The Brand Immersion Model breaks down the two primary ways to engage with content:

Highly Immersive Platforms: Viewers are more apt to be passive participants, observing content that substitutes the viewers’ emotional state with the emotional lives of the onscreen characters. If those characters need a product, the viewer feels that same need. Examples include television, virtual reality, theaters and home theaters, IMAX and events like the Olympics. Immersive content enables us to experience others and generate need states that previously did not exist.

Highly Flexible Platforms: Viewers are more apt to be active participants, constantly searching for something that engages them. This content requires the need to already become established. The content or advertising then supports this need. Examples include smartphones and tablets with email, social media and the websites that provide a never-ending search for more. Flexible content enables us to develop our own experience and satisfy need states that already exist.

Television is highly effective as an advertising platform because it is the primary medium that can create a need state, either through experiencing the needs of the onscreen characters during the primary content or through the high emotional involvement with on-screen characters during the advertising itself.

With flexible experiences, individuals seek out an experience more customized to their interests. For the most successful executions, this can result in higher engagement with content than on an immersive platform because it’s tailored to what the consumer is seeking. The reason for this heightened engagement is that the content is user-generated—people seek to broaden their conversations with each other and trusted sources like influencers instead of with the stories of new characters in an advertisement. Unless the ad is for a product the consumer already knows that he or she wants at that moment and it takes up enough of the screen to get noticed without turning the viewer “off,” it cannot generate the same level of connection.

So how do you ensure that your creative and different platforms go hand-in-hand for the most optimal engagement? How can we move from must-skip to must-watch? And how do we turn turn-out into tune-in? It’s simple: tap into the full spectrum of consumers’ responses— both conscious and non-conscious—to uncover areas of emotional impact, visual hot spots, blind spots and inform the strongest possible creative development.

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