https://vimeo.com/bravodesignince

Magic Mike

Magic Mike, Bravo DesignSet in the world of male strippers, Magic Mike is a story inspired by Channing Tatum’s life, more specifically, the portion that came before the fame when he actually was a stripper. The film follows Mike (Channing Tatum) as he takes a young dancer, the Kid (Alex Pettyfer), under his wing and teaches him in the fine arts of partying, picking up women and making easy money. It all seems glamorous and thrilling at first for the Kid, but the film also reveals a darker and more dangerous side fueled by cash and drugs.

David Rooney of the Hollywood Reporter calls Magic Mike, “arguably the raunchiest, funniest and most enjoyably nonjudgmental American movie about selling sex sinceBoogie Nights,” and Boxoffice.com estimates that the film should earn around $25M in its opening weekend.

Rating: R, Genre: Comedy, Drama, Runtime: 1 hr. 50 min., Starring: Channing Tatum, Matthew McConaughey, Alex Pettyfer and Olivia Munn, Directed by: Steven Soderbergh, Written by: Reid Carolin, Produced by: Nick Wechsler Productions, Distributed by: Warner Bros. Pictures

https://vimeo.com/bravodesignince

Outdoor Advertising

One of the earliest mediums of mass communication was the stele of ancient Egypt. Made of basalt, these tablets were about five-feet long, two and a half-feet wide and eleven-inches thick. Displayed prominently in high traffic areas, these stelais were the earliest form of mass advertising known to man. Fast forward several thousand years, and we’re kind of doing the same thing. Between the two, we’ve had numerous developments and breakthroughs in technology. We went from papyrus to paper. We built the printing press, the Internet, Facebook. So what changed or… what didn’t?

Once upon a time, outdoor advertising came in a variety of sizes. Okay, it still does. What’s different is that it can be posted basically anywhere. Aside from posters and bulletins, you’ll see advertising on newsstands, bus benches, on buses themselves, blimps, on gas pumps at gas stations, everywhere. The different shapes and sizes facilitate reaching consumers seamlessly, several times a day, from when they commute to work to when they pop out for lunch or coffee to when they leave to go home. Doing so presents both challenges and opportunities to those searching for the perfect marketing mix. As a word of caution, the more you segment and target, the more complicated your advertising campaign will inevitably become. Though, complicated does not necessarily equate to bad. For me, the objective is to reach the right people at the right times, which is convenient because outdoor advertising thrives on simplicity.

To be forthright, writing this entry has been really hard. Mainly, because you won’t find actionable metrics you can leverage like you will from the different analytics services you currently use. It’s difficult to link a piece of signage and the completion of a call-to-action. And when I say difficult, I mean it more closely represents shooting in the dark. That’s why marketers will typically prefer to buy placement in newspaper and magazines and continue to allocate their marketing dollars to online ad spend despite the fact that click-through-rates (CTR) are abysmal. Despite this, billboards are everywhere, and companies still pay to erect messaging on them. Why? Because you don’t have to try and convert the non-believers with truncated messaging in the smallest of windows only for them to maybe navigate to your website and then drop off. Billboards aren’t supposed to persuade. It’s a place where you can establish your business’s name and strengthen its image.

In a given year, there are about 250 business days after you subtract weekends and bank holidays. My commute to and from work takes roughly an hour combined each day, so we can safely say I commute around 250 hours in a year. That’s approximately 10.5 days sitting in my car just driving to and from the office. According to the U.S. Census Bureau, on average, Americans spend more than 100 hours per year commuting. I don’t think that’s a very a good estimate, but you get the picture. Multiply this by the thousands of commuters driving down the highway, walking down the street or whatever you may have, and you have a monstrous reach that has mass target potential. You’re no longer honing in on just your target demographic but everyone past that. Frequency builds awareness. Awareness builds familiarity, and familiarity builds trust. Because in the end, unaided brand recall can be seen as the pinnacle of any advertising campaign. It indicates superiority relative to all of its competitors, and sometimes it becomes so dominant that consumers are only able to recall that one brand. History is full of such examples. Coca Cola was once so popular that people referred to all soda as “Coke.” “Fridge” is actually short for Frigidaire, not refrigerator. Photocopiers are often referred to as the “Xerox,” tissues as “Kleenex,” bandages as “Band-Aids” and petroleum jelly as “Vaseline.”

That’s not to say that the correlation is if you use outdoor advertising, your brand will become a household name around America. The takeaway is that these brands achieved widespread success by promoting recall instead of focusing on persuasion. If you’re already using cost per mille (CPM) advertising, you might want to start shopping around for outdoor ad buys.

https://vimeo.com/bravodesignince

Abraham Lincoln Vampire Hunter

Abraham Lincoln, Bravo DesignAbraham Lincoln Vampire Hunter, an adaptation of the best-selling graphic novel by Seth Grahame-Smith, opens with Abraham Lincoln, as a boy, witnessing the shocking death of his mother at the hands of a vampire. As a young man, he swears vengeance and, incidentally, Abe (Benjamin Walker) later meets veteran vampire hunter, Henry Sturgess (Dominic Cooper), who apprentices him in the craft of killing the undead. Abe’s weapon of choice? An axe with a silver blade. Eventually, he finally puts his on the backburner in favor of politics becoming the 16th President of the United States. He’s only brought back to this conflict when the Civil War erupts, and he learns that vampires are backing the South.

Roger Ebert writes, “Abraham Lincoln Vampire Hunter is without a doubt the best film we are ever likely to see on the subject — unless there is a sequel, which is unlikely.” The film opens on June 22, 2012 and is predicted to open at around $20M domestically by the LA Times. 20th Century Fox is anticipating an opening of around $16M.

Rating: R
Genre: Action, Fantasy, Horror
Runtime: 1 hr. 45 min.
Starring: Benjamin Walker, Rufus Sewell and Dominic Cooper
Directed by: Timur Bekmambetov
Written by: Seth Grahame-Smith
Produced by: Abraham Productions, Bazelevs Production and Tim Burton Productions
Distributed by: 20th Century Fox Film Corporation

https://vimeo.com/bravodesignince

Being Different

If shoppers were motivated solely by price, our world would be a drastically different place, but the fact that we’re regularly inundated by a wide variety of products just goes to show that different people value different things when it comes to purchasing goods, similar or otherwise. As an employee trying to grow the business I work for, a good deal of my time is dedicated towards finding new and exciting ways to engage prospective clients. If you’re still reading this, your workday might not be so different than my own. The tough part is that because we’re constantly fighting time constraints with limited resources, we’re in this perpetual rush to prioritize which touch points to use, and which to put on the backburner or discard altogether. This much is further complicated by the fact that individual consumers interact with brands differently.

So what should you do? Well, I don’t know, but I can tell you what I would. When in doubt, I tend to break a problem down to its simplest terms, and I’m a big believer that the simplest explanations are typically the best ones [see: Occam’s Razor]. Here, the question should probably be framed as, “How do we provide value beyond a transaction?” It’s something I think I can answer, at least partially, with three anecdotes from my growing up.

My mom has owned restaurants in Downtown Dallas since I was about six or seven-years-old, good ones too. I’m not just saying that because she is who she is. They’ve just always had really good food at a phenomenal price. When I was last helped out there, a cheeseburger combination with fries and a drink cost $4.28 with tax. In LA, I’m lucky if I can pay around $8.00 for something comparable. Outside of those two selling points, quality and price point, she knows basically everyone’s name who walks through the door despite the fact that the restaurant gets really, really busy. Growing up, my parents would pretty regularly forget how old my siblings and I were when taking us to the doctor’s office as kids, but my mom wouldn’t forget her customers’ names or what they regularly ordered. By the time you walked up to the counter, she’d be pouring your soda of choice or handing you a glass of ice for tea. Get to know your customers. Be personable and ask them how they’re doing. You or I could probably find 100 different burgers at 100 different places on Yelp. What you probably won’t find is an eccentric little Asian woman who will ask what your kids are doing for the summer or where your other lunch buddy is. It’s both hilarious and unequivocally welcoming.

When I was 11-13, I would go to an old school barbershop a few blocks away from the restaurant. When I say old school, I don’t mean that it had a barber’s pole complete with old men. I mean that they used straight edged razors, heated shaving cream and the Oster Stim-U-Lax for back rubs after haircuts. They had a guy who shined shoes in the corner though I don’t remember ever seeing him actually working. Having established that, it wouldn’t be much of a stretch to say that these guys were probably born sometime during FDR’s presidency, and I’m thinking more along the lines of his first term and not the second or third. What was great about their shop was that it didn’t have bells and whistles. It didn’t need to. Being a barbershop for grown men, it didn’t need to blast house music or serve green apple martinis. Stick to your guns and focus on producing a high-quality product because all the bells and whistles in the world won’t obscure a bad one, not in the long-term at least.

Lastly, I’d encourage you to be mindful of all the small things. Back in Dallas, there’s a steakhouse called, Nick & Sam’s that I absolutely love. The first time I went, I was charged with booking a reservation for my family, so we could celebrate my brother’s finding a new job. If you’re a meat eater in Dallas and haven’t been, or you find yourself close by for some reason or another, you have to go in and try their porterhouse. The customer service was good and so was the food. What stood out was the fact that the general manager called me the next afternoon to ask how my family and I enjoyed dining there. Before you extrapolate that the GM was a telepath, he had my phone number from the reservation where I had indicated that it was our first time dining there together. Even still, you have to admit that his calling was both thoughtful and very cool. He could’ve sent a form e-mail, which would probably save him boatloads of time, but he didn’t. He took the time to make the call. Each and every business will inevitably develop kinks. That’s just a simple fact. Gathering feedback is an easy way to figure out if you’re operating up to par or that you need to make changes somewhere along the way.

Be passionate about your business and your work. That means caring about your customers because passion translates into commitment, and commitment drives success. Your business and its branding is born out of differentiation and dies from its lack thereof. Setting yourself apart is doing more than saying that you’re different or that you’re better. It requires action.

At the end of the day, how are you doing that?

Photo Credit: GraphicsDB.com

https://vimeo.com/bravodesignince

Rock of Ages and That’s My Boy

Rock of Ages, Bravo DesignRock of Ages, set in 1987, is the story of a starry eyed small town girl named Sherrie (Julianne Hough) and an up and coming rock and roller named Drew (Diego Boneta) who meet at the Bourbon Room, owned by Dennis Dupree (Alec Baldwin) and his right-hand man Lonny (Russell Brand), while pursuing their dreams in Hollywood. Tom Cruise stars as Stacey Jaxx, the rock star headlining at the venue. This rock ‘n’ roll romance is told through the heart-pounding hits of Def Leppard, Foreigner, Journey, Posion, REO Speedwagon, Twisted Sister and more. Pete Hammond of Box Office Magazine writes, “You’ve never seen Cruise like this—stoned, sexy, topless, reckless—and his swing-for-the-fences performance is so on target it’s actually Oscar-worthy.”

Rating: PG-13.
Genre: Comedy, Drama, Musical
Runtime: 2 hr. 3 min.
Starring: Julianne Hough, Diego Boneta, Russell Brand, Paul Giamatti, Catherine Zeta-Jones, Malin Akerman, Mary J. Blige with Alec Baldwin and Tom Cruise
Directed by: Adam Shankman
Written by: Chris D’Arienzo, Justin Theroux and Allan Loeb
Produced by: New Line Cinema, Corner Store Entertainment, Material Pictures and Offspring Entertainment
Distributed by: Warner Bros. Pictures

That's My Boy, Bravo Design

As a teenager, Donny Berger (Adam Sandler) fathered a son, whom he named Han Solo (Andy Samberg), and raised him as a single parent up until his 18th birthday when his son disowned him. Now, after not seeing each other for years, Han Solo’s [who at this point has changed his name to Todd] world comes crashing down on the eve of his wedding when an uninvited Donny suddenly shows up broke with a reality TV crew at his heels. Trying desperately to reconnect with his son, Donny is now forced to deal with the repercussions of his bad parenting skills.

Bill Gibron of Pop Matters writes, “That’s My Boy is a gangly guilty pleasure experience that makes you feel foul for enjoying its obvious, out of control bravado. Sandler is terrific as the tacky center of attention and even with a bloated belly and bad mat of monkey fur hair-do, he’s winning.”

Rating: R
Genre: Comedy
Runtime: 1 hr. 54 min.
Starring: Adam Sandler, Andy Samberg and Leighton Meester
Directed by: Sean Anders
Written by: David Caspe
Produced by: Happy Madison Productions
Distributed by: Columbia Pictures

Rock of Ages is expected to open at $35M domestically and That’s My Boy at $28M according to BoxOffice.com.

https://vimeo.com/bravodesignince

Movie Marketing Part 2

If you missed our first installment on movie marketing, check it out here.
The Avengers, MarketingIf you’re anything like me, you might find special effects in movies distracting. Not on the basis that they’re not awesome because they most certainly are, more so because you start to wonder how much they cost or why movie budgets are apt to spiral out of control during production. I’ll hear something like, “It only cost $220M to create The Avengers” and think that’s normal. 30 seconds later, I find myself thinking What? $220M! How the…? So for each of you wondering where these gargantuan numbers come from, here you go.

First and foremost, most film budgets are obtuse by no incident. More often than not, they are either grossly inflated to impress audiences or deliberately depressed to appease investors and/or make them appear more profitable, so what you see isn’t necessarily what you get. On the backside, reading that a movie has made X million dollars doesn’t mean much on its own; especially, if the development costs are astronomical. Gross revenue might be a lot, but it might not be enough.

Production Budgets
A film’s production budget includes all costs incurred before production, during filming and after in post-production. This includes everything from buying the rights to a script, to the actor’s salaries, set construction, catering, editing, pretty much anything you can think of. This is typically split into two portions: above-the-line and below-the line. Above-the-line cost consists of all things creative; below deals with the technical aspect. Per The-Numbers.com, the average cost of a major studio movie was about $65M when the MPAA stopped tracking the number in 2006 and has risen since then. Feature films now commonly cost more than $200M to make.

P&A Budgets
Studios seldom release accurate production budgets, and they’re even more cautious with revealing how much they spend in regards to print and advertising (P&A). The P&A costs for a movie can be incredibly high. For a smaller production, the promotional budget can exceed the original production budget. For a film that costs tens of millions of dollars to make, marketing costs will likely be at least half the production budget, and the numbers only go up with bigger films. If the studio spends a lot on production, they’re going to want to protect that investment by advertising it heavily.

Of course, these numbers will vary, more so when a studio clearly has a lemon in its hands. For films that are clearly going to suck, a studio will most likely taper back so as to reduce the money at stake. It’s the rough equivalent of drawing a 12 on a blackjack table and then having the option of recalling some, or all, of your bet to save yourself from a near certain loss.

Distribution with Movie Theaters
Opening weekend is the most critical period for a release because this is when studios will most likely make the bulk of their money domestically. Studios often structure deals with theaters where they receive a higher percentage of the box office receipts that particular weekend. The balance is shifted more favorably for theaters, but it usually winds down to a 60:40 split in favor of the studios. As a sidebar, if you’ve ever wondered why a bag of popcorn costs $36 at the theater, it’s because concessions are what keep the lights on.

Revenue Generated Internationally
Though the international box office has grown considerably faster than North America’s, it’s difficult to say whether one is more important than the other on the basis that even if a film grosses more overseas, studios take a bigger cut of box office receipts domestically. According to the book The Hollywood Economist by Edward Jay Epstein, studios take in about 40 percent of the revenue from overseas release — and after expenses, they’re lucky if they take in 15 percent of that number.

Additionally, the international box office revenue is much less predictable than that of the United States’. According to the Economist, Gulliver’s Travels had a disappointing run in North America, taking in just under $43M at the box office. To clarify, Fox had pretty much given up on this movie before it had the chance to pull out of the gate, but a strong turnout internationally helped it reach almost $195M in sales bringing it to a total of $237M. As a result, it most likely ended in the black despite the underwhelming level of marketing.

Home Entertainment
When it comes to home entertainment, studios get a much bigger cut of DVD rentals and sales than they do theatrical revenues. According to Jay Epstein, “The studio pays none of the cost of advertising, prints, or logistics. Almost all proceeds, minus some residuals paid to third parties, go to a studio’s bottom line.” But DVD sales may have seen its brightest days already having declined year-to-year since the start of the global recession. “Sales of movies on Blu-ray discs and films delivered digitally and on demand rose in 2011, but not enough to make up the gap in falling DVD sales” according to an article in USA Today.

Add up all the variable costs, and you’ll see that studios have to tip toe along a very fine line. If it goes all out in production and marketing, it runs the risk of being unable to recoup the massive budget even if the film grosses well. If it tapers back on one or both, it stands to produce something that fails to pop up on the radar. This isn’t an exact science, not from what I know at least, but there are movies that earn sure footing by finding the right moderation.

The Hunger Games, which ranks in at #14 on highest domestic grosses, is a great example. It featured zero A-list stars and operated on a relatively modest budget of $78M. As of this moment, it’s earned $645M, which is more than enough to put it in the black. As a general rule of thumb, if a film can earn its production budget domestically, revenue generated at the international box office and later on home video should recoup the remainder of its costs and make it profitable.

Photo Credit: Rachel Murray Art

https://vimeo.com/bravodesignince

Prometheus

Prometheus, Bravo DesignAfter a discovery reveals a clue on the origins of mankind, a team of 17 explorers on the spaceship “Prometheus” goes on a journey that leads them to the darkest corners of the universe where they later become stranded. As they struggle to survive, it becomes clear that the horrors they experience are not just a threat to themselves but to all of mankind.

Glenn Kenny, of MSN Movies, describes the film as “one of the most perfectly perverse and beautifully executed pieces of shock cinema. Absolutely breathtaking and staggering and exhilarating. This is a remarkably scary and eye-popping head rush of a movie, an experience that offers a maximum adrenaline boost at the same time as it engages your intelligence.”

Prometheus will be released on June 8th and is predicted to take in $51M domestically. According to Boxofficemojo.com, it took first place in 14 of its 15 markets last weekend and earned $34.8M. In Russia, its $11M is the third-highest opening for a Fox movie behind Avatar and Ice Age: Dawn of the Dinosaurs, and its $10M debut in the U.K. is the best ever for a Ridley Scott movie.

Rating: R
Genre: Action, Horror, Sci-Fi
Runtime: 2 hr. 4 min.
Starring: Noomi Rapace, Logan Marshall-Green and Michael Fassbender
Directed by: Ridley Scott
Written by: Jon Spaihts, Damon Lindelof
Produced by: Scott Free and Brandywine Productions
Distributed by: Twentieth Century Fox Film Corporation

https://vimeo.com/bravodesignince

Movie Marketing

Once upon a time, Hollywood could sell a movie with a trailer, some posters and a few billboards. Today, studios struggle to fill seats past opening weekend even with massive marketing budgets.

Though the film industry grosses billions of dollars each and every year, very few films actually turn a profit because of the tremendous costs accrued during production and later on in advertising. To further exacerbate the situation, a picture really only has its opening weekend to gain traction and garner positive reception from its audiences, mainly, because reviews in the paper as well as those from friends and family members can make or break a film.

In a Stradella Road study, conducted by surveying 4,000 moviegoers, 29% said they were much more likely to see a film that was reviewed positively by a professional movie critic. 41% said they were if they heard the review from a fellow moviegoer. Conversely, only 28% decided not to see a film because a professional critic negatively reviewed it. 40% said they would not if a fellow moviegoer gave a similar negative review. With so many potential blockbusters fighting for the same key demographics, Hollywood relies on a few hits each season to make up for the majority of films that fail to recoup their costs.

Each major studio has a marketing department dedicated to creating and executing a cohesive advertising campaign across several different mediums. Theatrical trailers are often the first interaction a studio has with its prospective target audience where it provides moviegoers a sampling of a film’s strong suits while leaving them wanting more. At or around the same time, an interactive web site for the film is unveiled. A typical movie site allows visitors to view multiple versions of the trailer, watch behind-the-scenes interviews, short production documentaries, download media, play games and chat in forums.

As the release date of a film draws closer, marketers try to gain favorable press coverage as early as possible. This usually takes form in junkets, press releases as well as interviews on TV and on the radio. More recently, online Q&A sessions with the makers and stars of films have become increasingly popular.

Just weeks before a movie premiers worldwide, movie marketers start an all-out public relations blitz that serves two purposes. First, with the constant bombardment of ads in the paper, on billboards, TV, radio, online, the goal is to turn a movie into a household name where it ends up being more difficult for anyone not to notice the movie’s release. Second, the media blitz serves to convince the public that the film is something that cannot be missed.

Another strategy is to use product placement, better known as tie-ins, and corporate partnerships that go beyond action figures and lunch boxes. Disney lined up an estimated $100 million in Avengers-related marketing by partners including Hershey, Harley-Davidson, Wyndham Worldwide and Honda Motor’s Acura, which served to supplement Disney’s own estimated $150 million marketing budget as well as position itself in stores across the country.

Target's "Young Avengers," Marketing Target’s “Young Avengers” Commercial

Despite all this, moviemaking remains to be an inherently risky business. Movies implode just as frequently as ever, if not more so, on the basis that moviegoers are more discerning than ever. Studios try to mitigate this by heavily marketing films to protect their investments, but the downside is that, in the process, films inevitably become more expensive.

The Shawshank Redemption is listed in the top spot on IMDB.com’s Top 250. In 1994, when it was released in theaters, it raked in a very modest $28,000,000. Ironically, it would later earn seven Academy Award® nods and be played weekly on network television for the next 18 years. The simple fact of the matter is that while it underperformed at the box office for several reasons, poor marketing was a major factor. At the time of its release, no one knew what the movie was about.

This very same problem played itself out again this year in John Carter. Aside from the blunders often cited in papers, at around the time of its release, very few people knew that the film was based on an Edgar Rice Burroughs cult-classic published between 1912-1943 that, per Wikipedia, “inspired a number of well known science fiction writers in the 20th century, and also key scientists involved in both space exploration and the search for extraterrestrial life.” That much was left out of the marketing campaign that went completely under the radar. Instead, the studio tried to make the film as inclusive as possible and advertised it to the widest demographic in Disney’s kid friendly format, which resulted in disaster for the studio.

The better alternative here would have been to implement a niche busting marketing plan. For the film industry, this would entail marketing a movie heavily to highly specific audience segments rather than solely based on genre. For a film like John Carter, something as simple as promoting at Comic-Con would have likely gone a long way, but Disney skipped out there. On average, 125,000 sci-fi, comic and cartoon enthusiasts attend conventions each year around the country, and they might have backed the film in its infancy. Instead, the studio missed what would have been a golden opportunity.

12-weeks prior to the release of The Hunger Games, the film boasted over 2,000,000 fans on Facebook. At that same benchmark, John Carter had around 40,000. According to the Pew Research Center, 95% of teenagers between 12-17 use social media and watch twice as much video on mobile devices. Because this demographic shells out more money at the theater than any other, a big push into social media wouldn’t have hurt.

Conveniently, promoting a product online is much cheaper than buying spots on primetime television. While there are other factors that come into play like having the right script, director, cast and crew. Providing context to the Burroughs’ legacy would have very obviously helped. Casting someone else in place of Taylor Kitsch could have as well. While casting an A-list star doesn’t guarantee success, it does lend itself a fan base and generates buzz.

There are a countless number of ways the marketing strategy and execution could have been done differently, but hindsight is 20/20. It’s one thing to promote a movie like every other that preceded it and all the ones it’s presently or soon to be competing with. It’s another to make it stand apart. Knowing and understanding who your target market is and what they want is the first step.

Linked is our next installment in this series on movie marketing.

Photo Credit: ChristieTaylorOnline

https://vimeo.com/bravodesignince

MIB 3 and Chernobyl Diaries

Men In Black Bravo DesignAgents J (Will Smith) and K (Tommy Lee Jones) are back in MIB 3. When K’s archnemesis, Boris The Terrible (Jemaine Clement), breaks out of prison, Borris immediately travels back in time to take his revenge on the MIB agent who captured him. Back in the present, J is the only person who remembers K’s existence, and in an effort to save his partner as well as the whole planet, he also travels back to 1969, where he partners with a younger K (Josh Brolin), to stop Boris’ plan.

A.O. Scott of the New York Times writes, “Even as the movie carefully fulfills its blockbuster imperatives — with chases and explosions and elaborately contrived plot twists — it swerves into some marvelously silly, unexpectedly witty and genuinely fresh territory.”

Rating: PG-13
Genre: Action, Comedy, Sci-Fi
Runtime: 1 hr. 46 min.
Starring: Will Smith, Tommy Lee Jones and Josh Brolin
Directed by: Barry Sonnenfeld
Written by: Etan Cohen, Lowell Cunningham, David Koepp, Jeff Nathanson and Michael Soccio
Distributed By: Columbia Pictures

Chernobyl Diaries Bravo DesignChernobyl Diaries is an original story from Oren Peli, the creator of Paranormal Activity. The movie follows a group of young tourists who, looking to go off the beaten path, hire an “extreme tour” guide. Ignoring warnings, he takes them into the city of Pripyat, the former home to the workers of the Chernobyl nuclear reactor, deserted since the disaster more than 25 years ago. After a brief exploration of the abandoned city, the group soon find themselves stranded, only to discover that they are not alone.

Evan Dickson of BloodyDisgusting.com writes, “Chernobyl Diaries is a nightmarish journey, suspenseful and surprisingly fun.”

Rating: R
Genre: Horror
Runtime: 1 hr. 30 min.
Starring: Jesse McCartney, Jonathan Sadowski and Olivia Dudley
Directed by: Bradley Parker
Written by: Oren Peli, Carey Van Dyke and Shane Van Dyke
Produced By: FilmNation Entertainment
Distributed By: Warner Bros. Pictures and Alcon Entertainment

https://vimeo.com/bravodesignince

Custom Packaging Design

Jesse Kirsch, Packaging DesignYou’re at the grocery store looking for laundry detergent, and your go to brand is sold out. There are two comparable substitutes sitting side-by-side on a shelf, but you’re not familiar with either. Which one do you buy? More likely than not, the one that does the best job conveying both quality and value. If you’re anything like me, you’re probably thinking that you’re going to be stuck with whichever one you decide to buy for the next couple of months, so you might end up focusing more on mitigating your opportunity cost than finding something you love.

Whether you realize it or not, packaging gives form. And like any other marketing medium, its function is to help move consumers further along in the buying cycle by shaping perception, working as a tool for differentiation and, in the end, reassuring buyers that their purchase decision is the right one at both the point of sale and every time the product is used afterwards. Though prospective buyers might not know it, they want to be motivated because most, if not all, of their buying decisions are based on information sought out actively and passively.

The process begins with our perception of external stimuli. Marketers and retailers understand that perception can influence our behavior without our conscious knowledge, so they create products and stores, specifically, to maximize consumer spending. To learn more about this aspect of retail, check out our entry on “The Psychology of Advertising” here.

In order for us to efficiently function in this crowded environment, we choose to perceive certain stimuli while ignoring others. This is called “selectivity.” Selectivity lets us focus our attention on cues that provide meaning, while filtering out noise, so as not to waste our finite resources processing irrelevant information. “Thin slicing” is a term psychologists use to describe our capacity to make decisions quickly with minimal information. By and large, thinking is unanimously described as a conscious effort. Thin slicing more closely represents an instinctive behavior.

When faced with a new buying situation, a consumer will typically form a decision for choosing a product based on the information on or around the product, as well as the packaging itself, somewhere in the ballpark of two to four seconds. Generally speaking, shopping is a low-involvement, low-priority event that requires little or no mental or emotional investment, so packaging design should serve to connect the dots between a problem, or want, and a solution.

So what should you do to make your abbreviated sales pitch more memorable?

Consider how you might highlight your product’s image. What qualities set it apart from its competitors? What qualities make it better than any of its countless substitutes? Additional considerations should include your consumer’s involvement level, any possible time constraints and/or characteristics that spread across the aggregate.

Your packaging isn’t any different than a full-page advertisement for your company, more so for that particular product. It’s the vehicle that converts your brand’s identity, its positioning and your company’s culture into something tangible. So yes, it should be taken pretty seriously because a high-quality product coupled with high-quality packaging design conveys excellence, which translates into value in your buyer’s mind.

If you don’t know where to start, consider contacting a professional. As it happens, Bravo Design, Inc. does custom packaging design and has a proven track record doing so for entertainment and consumer packaged goods. Packaging is your first interaction with a customer. We recommend you put your best foot forward.

Photo credit: Kitsune Noir, Jesse Kirsch