Irn-Bru ad campaign ideas presentation

1. Irn-Bru
JAY WOOD

2. Info-graphic Research:
DIRECTOR OF TELEVISION
References:
1. Anon. (2018). Director (TV). Available: https://creativeskillset.org/creative_industries/tv/job_roles/294_director_tv Last
accessed 13th SEP 2018. Anon (Unknown).
2. Film Director: Career and Salary Facts. Available https://learn.org/articles/Film_director_Career_and_FAQs.html. Last
accessed 13th SEP 2018
• DESCRIPTION – Being a director of TV requires you be responsible for the final look and sound of each episode of a
series and judge the technical aspects and ensure they are up to standard. Your goal is to refine and enhance original
ideas into coherent final products that can entertain whilst also generate expected revenue.
• SALARY – Median salary for all directors and producers in USA media (as of 2015) $68,440 (annually).
• KEY REQUIREMENTS – Be able to adapt script’s and other forms of media into a coherent and marketable entertaining programme.
Understand every aspect of TV production. Be aware of your employee’s and all departments involved in the project to work
efficiently to create the best possible programme. Be a team-leader. Be diplomatic when working with Writes, Producers, Actors and
crew members. Be able to conceptualise and think visually. Be able to make a definite decision on the presentation of the programme
(sound mixing, music, colour palette, lighting). Pay close attention to the finer details. Methodical approach to work, high stress
tolerance and stamina. Budgeting and financial skills. Have an eye for where visual effects and sound effects are appropriate. Utilise
single and multi-camera shooting. Know when to use unique and creative techniques. Excellent communication skills and have a clear
understanding of health and safety and legal requirements

3. Info-graphic Research:
DIRECTOR OF TELEVISION
Reference: Anon. (2018). Director (TV). Available:
https://creativeskillset.org/creative_industries/tv/job_roles/294_director_tv. Last accessed 13th SEP 2018.
• OVERALL JOB DESCRIPTION - Directors are responsible for the look and sound of a production and its technical
standards. They work closely with Producers and/or Writers, enhancing, refining and realising original ideas into
finished programmes. They are responsible for ensuring that the final programme is faithful to the original concept.
They must be able to push boundaries while remaining in total control of their material. They work across all genres.
• QUALIFICATIONS – There are no specific qualifications for the job, the best way to get some good grounding and go
down the career path is to do a media/drama/film qualification to get a good start as you will then already have lots of
knowledge and practise in the field. You will need wide experience in and knowledge of the production process. You
will need to complete specialist training in single and multi-camera directing.
• CAREER PATH - To become a TV Director, you will usually need to be an experienced member of a production or post
production team. You could start out as a Researcher and progress to be a Script Editor, a Story Editor and finally a
Director and/or Producer. Alternatively, you could work as a Runner, 2nd Assistant Director, 1st Assistant Director or a
Production Manager before becoming a Director.

4. Info-graphic Research:
DIRECTOR OF TELEVISION
Reference: Anon. (2018). Television Director | Get in Media. Available: http://getinmedia.com/careers/television-director. Last accessed
13th SEP 2018.
• EXPECTATIONS - In television, most of the creative control lies in the hands of the executive producers and writers; directors are often hired on a per-episode basis, and therefore
are not given a great deal of latitude to make significant changes to the show’s formula. To train for this career, take jobs on television crews in the camera department, electrics,
or post-production. Television direction has also been a successful training ground for future film directors like Steven Spielberg, Robert Altman, and Sidney Lumet.
• SINGLE CAMERA - Single-camera dramas like Heroes and CSI are shot in short, non-sequential segments based on the logistics of camera and lighting setups, then edited together
later. In this format, the director has the most creative freedom and performs much like a film director—the exception being that the show’s producers and creator have
predetermined decisions on production design and characterization.
• MULTI-CAM - Multi-camera programs, which range from live news and sports broadcasts to game shows, take the director off the set and place him or her in a control booth to call
out cues based not on a script, but on instinct. With eyes glued to a wall of screens, the director requests desired shot angles and positions from camera operators while
simultaneously ordering the switcher to initiate cuts between each signal. This job is less artistic and more of a test of nerve and organized thinking—though still creative.
• SITCOMS - Sitcoms are a hybrid form, more likely to be shot in a multi-camera format on film cameras rather than video. Instead of the director calling live switches from a control
booth, all cameras shoot the scene from different angles played to a live audience in proscenium style. The director here is most like a stage director, concentrating on blocking the
actors’ movements and rehearsing their performance. Multiple takes are shot of the entire scene in real time, and the director works with the producer and editor to select the
best takes for broadcast.
• SOAP OPERAS - Soap operas are the most unique and complicated television productions for a director. Scenes are shot live to tape, but require intricate blocking to
accommodate the multiple handheld and standing cameras. The director has little time to rehearse the cast for the daily shoot; rather, this person works closely with the
cinematographer, camera operators, and gaffer to establish composition, lighting, and set marks.

5. Info-graphic Bibliography:
References:
1. Anon. (2018). Director (TV). Available: https://creativeskillset.org/creative_industries/tv/job_roles/294_director_tv Last
accessed 13th SEP 2018. Anon (Unknown).
2. Film Director: Career and Salary Facts. Available https://learn.org/articles/Film_director_Career_and_FAQs.html. Last
accessed 13th SEP 2018
3. Reference: Anon. (2018). Director (TV). Available:
https://creativeskillset.org/creative_industries/tv/job_roles/294_director_tv. Last accessed 13th SEP 2018.
4. Reference: Anon. (2018). Television Director | Get in Media. Available: http://getinmedia.com/careers/television-
director. Last accessed 13th SEP 2018.

6. Info-graphic:

7. Client research:
Irn-Bru is a Scottish carbonated soft drink that is considered the ‘second national drink’ after whiskey. The drink is
manufactured in Westfield, Cumbernauld, North Lanarkshire, by A.G. Barr of Glasgow. Their marketing is usually absurdist
realism, video ads usually being someone in a family setting (kitchen sink) doing something extreme in an effort to get an
Irn-Bru. For example, there’s an old advertisement involving a Granny on a mobility scooter on her way to get some Irn-
Bru, but instead of simply going in to buy a bottle she pulls her hat down into a balaclava and barges past everyone inside
to get the drink.

8. Client research:
EXAMPLE ADVERTISEMENT 1:
Snowman Ad: https://youtu.be/4yZOab5gl-4
There are several different types of adverts Irn-Bru have produced, one that we’ve already discussed is the Granny advert.
Here is one that is animated known as the Snowman Advert based on the Snowman animated film. This advert is a linear
story in a non-realist setting of a boy with a can of Irn-Bru being taken on a trip over his city (parodying the film the ad is
based on), as he refuses to share his drink because of it’s flavour and taste. This ad uses dreams and fantasies to keep
within the themes of the source material whilst applying humour and comedy to the end of the ad when the Snowman
drops the boy as they are flying because of his refusal to share the drink and thus stealing it from him. This slightly darker
turn (despite the boy surviving) is comedic and therefore memorable, therefore succeeding as an advertisement as you
will remember it the next time you go grocery shopping.

9. Client research:
EXAMPLE ADVERTISEMENT 2:
‘New Fella’ ad: https://youtu.be/9UprxM_aBWk
This ad is more grounded and realistic, with a linear story of a Scottish mans daughter introducing her new English
boyfriend to him while he’s sat in his living room watching TV. This ad displays a heavy tone of self-importance and pride
in the context of patriotism, we see a picture of the father in the establishing shot of him at a football match with the
scottish flag painted on his face with a friend. When the daughter brings her boyfriend in he speaks in an England accent,
immediately realising this his face flares up in red with anger, but he quickly reaches for his Irn-Bru that calms him down
immediately, again he takes off his jacket and reveals an England football team shirt, to which he is angered again and
takes another sip. Finally his British bulldog with the English flag on its vest walks in and sits on his scottish flag rug that he
has in the centre of his living room, his face as if that was the last straw but he simply drinks again. The advert uses
comedy and humour again to attempt at being memorable whilst grounding the situation in reality as this circumstances
are completely feasible, this is all bookended with the slogan ‘Irn-Bru gets you through’, this rewarding power being that
no matter what life throws at you, drinking Irn-Bru will give you a positive outlook on life.

10. Market research:
Irn-Bru is a soft drink purely, no subsidiaries or other products under the Irn-Bru name. Their business mostly being
conducted in Scotland means they have mostly cornered the soft drink market, even popular brands like Coca Cola and
Pepsi fail in comparison to to Irn-Bru’s success as it is treated as a national drink as part of their slogan too. However in
other parts of the UK for instance it doesn’t fair as well, Coca Cola and Pepsi outshining Irn-Bru entirely to a point of which
where it is barely considered even a tertiary option of soft drink or even within the top 5. Irn-Bru’s entire business resides
and thrives in Scotland, Irn-Bru’s marketing team is clearly aware of this as they focus their efforts on appealing to the
Scottish demographic even going as far as to outright say the drink is for Scottish people and not intended to be
consumed and purchased by anyone else specifically targeting English people. This marketing tactic is more tongue-and-
cheek than anything else and is not meant to be taken as a serious threat or any act of segregation, their brand simply
goes for the more bolder options by being in your face and loud, as evident by their ads, this in comparison to Coca Cola
for instance, in which their marketing is more geared towards diversity and general acceptance whilst Irn-Bru is the exact
opposite.

11. Market research:
COMPETITION: COCA COLA AD
“Catch” https://youtu.be/S2nBBMbjS8w
This ad is a perfect example of Coca Cola’s light-heartedness that they default to in their ad campaigns. Whilst Irn-Bru
goes towards either exaggerated realism or parodies, Coca Cola either does a heart-felt narrative or a generic non-linear
set of sequences of people just being happy in big groups drinking Coca Cola. “Catch” is an ad from 2011 that is the
opposite in tone to Irn-Bru’s ‘The Snowman’ parody. This is a linear unrealistic narrative of a group of Polar bears watching
football together where one of the Polar bears is seemingly upset because of the current state of the game, and goes to
get a bottle of Coke. One of the bears outside of the ice cave throws him one to which he slips and slides on the ice in a
constant attempt to get it whilst knocking down his friends who try to help. The usage of the ‘happy families’ motif is very
typical of Coca Cola ads with some light comedic aspects thrown in too to keep it light hearted. The reason ads like this
stick the most however is the impressive animation on display, how everything moves seamlessly as partial to the well
planned and executed choreography.

12. Audience research:
From my research, I’ve noticed that Irn-Bru are very closed off as a brand, only really reaching out to Scotland and not
much further as its popularity in Scotland is unmatched by any other soft drink. Their marketing is solely based off of
Scottish culture, such as the ‘New Fella’ ad being a prime example of this Scottish national pride. While the business
decisions to keep the target audience fixated on its home does consistently earn Irn-Bru money, they absolutely could try
expand to the rest of the country. However, they may need to revert to their previous formula, as lots of Scottish people
have commented on how the new formula is not as tasty as its original version and that it is in fact worse by comparison.
If Irn-Bru wants to generate more money and expand they need to take their target audience’s criticisms to heart and
revert the changes made to the formula—Even use it as a marketing strategy. Perhaps they could do a few graphic design
changes, maybe look at changing the bottle to be more unique and advertise it as the ‘second coming’ of Irn-Bru,
especially given that the general consensus towards it as is now is that it’s just outright bad in comparison to the previous
formula.
Here’s some answers I got from an interview based around Irn-Bru in general.
What’s your general opinion on Irn-Bru’s marketing?
“The marketing is memorable, as the adverts especially use a lot of shock-factor comedy which makes them stand out.”
Have you ever tried Irn-Bru, and if not why?
“I first tried it ages ago, what I do remember is I’m not very likely to try it again because I didn’t like it”
Why do you think Irn-Bru is not as popular as other soft drink brands? E.g. Coca Cola, Pepsi etc
“Probably because the jokes they utilise in their ad’s aren’t everybody’s sense of humour, if it were me in charge I’d make
the jokes more widely accepting than for a very specific audience”

13. Audience research:
For my secondary research on Irn-Bru I found a lot of data based around the general customers of Irn-Bru ranging from
their hobbies to general interests as well as their overall emotions in response to the brand and the drink itself.
Here is the general data based
on the type of person that
purchases Irn-Bru. As expected
there are a few references to
Scotland—Royal Bank of
Scotland and the Bank of
Scotland—as well as lifestyle
choices and hobbies. Lots of
people who play Video Games
typically enjoy Irn-Bru
according to this research,
perhaps a collaboration with a
Video Games’ publisher would
be a good marketing strategy?
This data shows us that the general
reactions to Irn-Bru are very positive
being almost double in positivity than
people who actively dislike Irn-Bru.
However Irn-Bru is not as high as its
competitors as Coca Cola is

14. Idea Generation:

15. Individual Idea:
For my idea, it was to use this same theme of the Jester outside of the castle drinking an Irn-Bru throughout all 3 ads by
just altering the delivery to better suit each type of ad (TV, Advergame, Radio AD). For the TV ad it would be a minimum
of 30 seconds long, as one of the messages is that “Irn-Bru doesn’t waste your time” as near the end of the ad a scottish
man swipes the Irn-Bru from the Jester as he had grown impatient. The advergame would focus more on the Jester
himself, where the player takes the role of themselves instead of the scotsman, with predetermined question choices that
yield different outcomes, all of them being comedic in some way with the end goal being to get some Irn-Bru off of the
Jester. The radio ad would be a voiceover version of the TV ad with some extra sprinkles of description with lots of usage
of sound effects to give off the same impression, with victorious fanfare when the scotsman transforms into a knight by
drinking the Irn-Bru accompanied by the sounds of horses whining in the background to add to the medieval atmosphere.
Group Idea:
We ended up using all of my ideas for the final plan, we’ve decided for the TV ad to use a green-screen with a few props
and apparel for the Knight and Jester costume to convey the idea I had initially. For my advergame specifically I’m going
ahead with the Jester choice-dialogue game and making it so that each different response is a different screen. The radio
ad is still the same as planned, we may decided to create the sound effects ourselves rather than sourcing some royalty
free sounds online.

16. Idea Generation: TV Advert
Costume idea:
“The Jester”
Storyboard of the TV
adTV ad script
PROPS LIST:
x1 Jester hat (or full costume if within
budget)
x1 Knight’s Helm (or full costume)
x1 Irn-Bru can
x1 Green screen
These are some
of the ideas we
have for the TV
ad includes a
Jester and a
Knight

17. Idea Generation: Advergame
Example screenshot of what the advergame
could look like
The advergame in essence is a multiple-
choice game where you choose one of 3
approaches to the Jester from the TV ad,
depending on how you interact with him
determines whether you win or not. The
choices are also not serious legitimate
choices and are all either slapstick or verbal
humor as to match the themes Irn-Bru stay
true to consistently in their TV ads etc.
The music for the game would be similar
to tracks from 2015’s Undertale, such as
this track.
SOUND FX LIST:
- General Dialogue, not fully voice acted
- Hit/Damage noises
- Drinking sounds
- Victory jingles
- Game Over jingles