1. ADVERTISING
Account Management 101
Fundamentals of advertising account management

2. PBA– Performance Based Advertising
1. Advertising is most productive when it is focused on
changing behaviors, not attitudes.
Case Study:
If McDonalds say ‘we’re a healthy alternative’ – we all know that’s rubbish, so it
doesn’t really make me want to go.
But if McDonalds advertise ‘$1 cheeseburgers’ – we’d be there in a second
Change behaviors, not attitudes

3. PBA– Performance Based Advertising
2. Advertising messages should be created for, and directed
at, the heavy-using, high-yield customers in your category
I.e. advertise to the fast-food eaters who eat it a lot.
Nail this audience and you’re creaming it
3. In a nut shell:
“We don’t get them to try our product by convincing them to love our
brand. We get them to love our brand by convincing them to try our
product.”

4. Research Client
Before getting too far, find out everything there is to know about your client:
• Launch:
- What’s core to their business?
- What are they trying to create and how?
- Any famous representatives?
• Results:
- How did they go throughout their launch?
- How about their first year?
- Where are are going in the coming years?
IDENTIFY YOUR CLIENTS ‘PROBLEM’ – what are they trying to fix?
• Campaigns
- Identify key campaigns and identify common themes
- Does it fit a timeline?

5. Attention To Detail
• Very important throughout all work!
• Names, likes/dislikes, systems, folder locations
• When you sign off on artwork, you’re giving it your
personal ‘seal of approval’ – no mistakes!
• Study the brand, the ads, the copy/language, colors,
logos, differences between mediums
• Make lists to REMEMBER DETAIL

6. Job Folders
• One of the most essential parts of your job as an account manager.
• My philosophy is that one size does not fit all.
• Customize your ‘Master Job Folder’ (which gets copied across to
each job you work on)
• Ensure it’s simple to use, and simple to navigate.
• Ensure you place everything relevant to that particular job in the
folders.
• Ensure all files are named correctly so it’s easy to find them in the
future.
• Archive old files and ads – you never know when you may need
these.
Being a master of job folders WILL MAKE YOUR LIFE EASIER!

7. Emails
Through email, it’s easy to mistake ‘tone’
• Capital words = SHOUTING
• Too many exclamation marks = unprofessional
• Spelling errors a big no-no
• Always start with a friendly ‘hope you’re well’ etc
• Always finish with a ‘talk soon’ etc

8. MI – Material Instructions
Universal Advertising Document
If you don’t already have one, set one up!
Usually in excel.
• This doc translates all information provided by the client,
the media teams, and third parties (like publishers or
websites)
• This is the document everyone in the agency should
know how to read
• Outlines ‘what creative’, ‘job#’, ‘deadline’, ‘specs’, ‘sizes’,
‘dispatch details’, ‘additional notes’
EVERYTHING YOU NEED TO KNOW - CONCISE

9. ASK WHY
• Emails/jobs are received daily – some big, and some little
• ALWAYS ask yourself ‘why’ when receiving a job. More often that not, your
client hasn’t asked this question and the entire reason for the job may be
completely different to what you originally thought.
• This question will save truck loads of time and effort guaranteed.
• WHY = Why do you need it? What will it be used for? When do you need it by?
How do you want it supplied? Where are we sending it?
“Do you have enemies? Good. That means you’ve stood up for something,
sometime in your life!” Winston Churchill

10. Job Bag Estimates
Process from start to finish
In some cases, when agency and client have a tight relationship, an estimate can be
done at the end of a job. I.e. brief received, worked on the job and dispatched all
artwork:
PART 1:
1. Ensure all employees have finished entering time on timesheets and ask finance
to update the system
2. Open your financial system – go to ‘Production’ then ‘Production Reports’ – ‘Get
Data’
3. Find your job and preview the ‘Production JCR’ (or ‘JDR’)
4. Take down all figures relating to the job – i.e. artwork time, dispatch (FP, HP,
DEST, DDES, laser prints, DAM, DPM, DFP, DAD, DWEB – add external costs as
well if necessary
5. Write all info down on the job bag then tick this off

11. Job Bag Estimates
Process from start to finish
PART 2:
1. Within the same system, hit ‘Production’ then ‘Estimates’
2. Either create a new estimate, or copy from an old one – super easy
3. Be specific, ensure all time is covered and ensure you’re covered with specifics in
the job detail – you never know when the client may throw you a curve ball…
4. Double check the estimate lines up with the job bag then sign it off – finished
It’s important to note that most agencies will estimate up front before a job has been
touched. Most common when the client is relatively new and both parties are working
out best practices.
It’s also a little easier to forecast each job this way.

12. PURCHASE ORDERS
• Purchase Orders are made when external costs come into the business.
For Example – we’re doing a TVC and we record VO and have an external supplier do
the editing. Later on we receive an invoice from the VO agency along with the third
part editing team.
• Once we receive their invoices we’re able to then set up a PO#
• The PO# will reference the Job#, job description and price
• Handy tip – it’s not necessary to create multiple PO#s for the one job – simply add
an additional line to the existing PO and you’re away

13. General Finance
• Clients are either retained or not.
• In both cases, it’s best practice to track all hours spent on the job accurately.
• Are you estimating upfront, or after the job is finished?
• Always vital to add ALL costs to a job (i.e. taxis, delivery, printing, distribution)
• Even if a job is closed and basically all square, it’s best to leave it open for an extra
month just incase – you never know when you may need to revisit a job.
• Before completing finance for the month, ask finance to update timesheets – all
records will then be up-to-date.
• Each agency will have unique billing codes and practices – it’s best to familiarize
yourself with these as early as possible.
• Be careful with international clients and you deal with tax.

14. INTRODUCTION TO TV
• Governing bodies: AU – CAD / NZ – CAB (NZ legals are very strict)
• Developing retail scripts usually a quick and painless task. Usually
completed by copywriters – they’ll take an old/existing script and make
relevant changes to the specific product.
• Ensure the language used is consistent with the brand.
• Booking VO (voice over) well in advance is essential – needs to be
timed correctly in order to finish the edits, gain client approval and
dispatch to stations.
• Opening and closing TVC frames are generally for the brand to shine
• Final footage – our job to ensure it looks and flows well. I.e. not too
many cuts, logical flow, easy to comprehend voices, imagery
compliments product on offer.

15. TV – MI Process
Material Instructions
1. Receive Media Plan
2. Create TV/Radio MI based on spots
3. Completed MI sits in the job folder
4. Once we have confirmed creative material, we decide whether
material can repeat or if it stays the same
5. If new, we create a new job and file it under the correct folder.
6. Scripts and approved edits sit in this new folder
EVERYTHING LINKS BACK TO THE MASTER MI

16. TV – hints and tips
• Careful with long/wide shots vs. close/face shots – a lot
of back and forth looks strange
• Every 5 words on a super needs 2sec appearance time
• Script timings ESSENTIAL – always read your scripts
• V/O – always match this up to the footage, hear what you
see

17. TV – Uploading via AdStream
• Login with appropriate username/password
• NEW – Television commercial (how many are you sending?)
• Enter key number (with no ‘/’s)
• Enter details as you need to, client, product, campaign, production
team – whatever the agency likes to include
• Advise which networks you’ll be sending the ad to
• Standard – 8hrs / VIP – 4hrs / Red Hot – 1hr
• The reference number is always the job# - best way to track jobs

18. GENERAL HINTS & TIPS
• ALWAYS stick to brand guidelines – keep it simple, direct copy, logical layout and
consistent imagery
• ANYTHING NEW MUST GO THROUGH CREATIVE DIRECTOR – be ready for feedback
• Use resources available to you – old ads, concepts, layouts, ideas, names, copy
• LANGUAGE – ‘Here it is…’, ‘artwork/creative/copy’, don’t ask questions you don’t want
the answers to…
• When push comes to shove, it’s what the client wants – ALWAYS CHECK THE BRIEF
CLIENT = KING
• Don’t be afraid to flip something on it’s head, could be just the trick
• QUESTIONS – ‘What’s it for?’, ‘What are the specs?’, ‘When’s it due?’
WIP EVERYDAY IS THE BEST THING YOU CAN DO

19. Thinking oUtSiDe the BOX
• Problems occur on a daily basis
• The solution can often be found/or applied with the tools we already have
Think how we can use our tools in different ways, as this will:
1. Add value to the tools
2. Portray resilience at no added cost
3. Save time (no need for new systems etc)
4. Show that staff aren’t just running the mill, but a bit of ingenuity is apparent
Things like word, excel, outlook – we use this everyday.
HOW CAN WE ADD VALUE TO WHAT WE ALREADY USE?

20. How To Manage People
• Anyone you manage is a reflection of your own work
• If they stuff up, you stuff up
Basic guidelines for your team to follow:
1. Acknowledge clients email and say ‘We’ll come back to you with any queries’.
2. Find/use an old example related to new brief
3. Brief copy writers/studio/art directors
4. Compile any/all queries and send client a follow up email
5. Relay information, receive new artwork and liaise with your client from there
Creative Advertising is subjective! There will always be a need for updates.
Your job is update anything/everything that requires a change before you send it on.
Always have a logical and positive reason for changes – these days everyone is a
‘creative genius’.

21. DM – direct marketing
• Set up an up-front cost – likely to be lots of
third party costs (printing/distribution)
• KEY ASPECTS YOU NEED TO KNOW EARLY:
 SIZE –how big?
 QUANTITY – how many?
 PAPER QUALITY – gloss/matt/thickness
 DISTRIBUTION BREAK DOWN – being sent to one office, or split into
different domestic offices?
 ACCESSORIES – envelopes, stamps, etc
 DEADLINES

22. DIGITAL ADVERTISING 101

23. Common Digital Terms
• Flash Banner – web design software that creates animation and interactive elements
which are quick to download
• Stickiness – how long a user spends on the web page
• Spider – program which crawls the web and fetches web pages in order for them to be
indexed against keywords. Search engines use these to formulate search results pages
• Dwell Time – a measure of online ad campaign performance – shows how long a user
spends looking at an online ad
• Affiliate Marketing – advertiser gives web banner to a brand/company website for
them to display. If a consumer clicks through and purchases from the banner, the host
(affiliate partner) gain a commission for hosting the banner
• CPA – cost per acquisition – cost to acquire a new customer
• PPC – pay per click – like Facebook ads, your budget is only met when users click on the
ad
• VOIP – voice over internet protocol – i.e. Skype
http://www.mediascope.com.au/online-advertising-terms

24. Common Digital Terms
• Standard Banner - regular flash animated SWF + backup GIF
• Polite Banner – same as a standard banner, but you have capacity to upload larger
files – rich media. Once web page and standard flash file has loaded, the rich
media will begin to load.
• Expandable Banner – 2x add placements on the one page. Normally 2x side skins.
Left one loads first, and straight after the right one will load. These banners are
linked so the creative can be tailored for two banners
• OTP – Over The Page – this is a rich media placement and normally costs a fair bit.
One impression per day, and the creative will take over the entire website
homepage – once creative is finished it will close down into an MREC/Half Page
• Pre-Rolls – 15sec/30sec TVC clips that air before videos on Youtube. Can use
annotations

25. Common Digital Terms
• http – Hyper Link Transfer Protocol
• www – World Wide Web
• html – Hyper Text Markup Language
• url – Uniform Resource Identifier (URI)
• cpu – Central Processing Unit
• os – Operating System
• pdf – Portable Document Format
• ftp – File Transfer Protocol
• usb – Universal Serial Bus
• gif – Graphic Interchange Format
• jpg – Join Photographic (Experts) Group
• png – Portable Network Graphics
• tiff – Tagged Image File Format
• eps – Encapsulated PostScript
• mpeg 4 – Moving Pictures (Experts) Group

26. Digital eDMs
• If using an existing HTML eDM as a base, the creative
must be 99% identical for it to work
• Designs (PDF) should be 100% confirmed before
going to build, HTML doesn’t have the flexibility of a
program like photoshop
• Be careful of URLS
• Always find out what analytics client require

27. Digital – Shazam!
Want to use Shazam in digital, TVC advertising?!
1. Produce the commercial to standard specs
2. Send final/approved product through to Shazam and from there
they will add in a background frequency to a unique pitch
3. In the backend of Shazam, this frequency would be recognized as
the advertisement
4. When the ad is live, hit Shazam and you will be directed to the
appropriate landing page
DOUBLE CHECK WITH SHAZAM

28. Along with many, many other interesting facets,
these are some helpful points that helped me
cover the basics.
Kind Regards,
Ad Man