FMS Direct Launches Business Features Network
The Expanding Radio Dial

Response Magazine


FMS Direct Launches Business Features Network
Produces Highly Targeted Web-Media for Companies

For Immediate Release
Contact: (818)708-7814

Tarzana, CA – FMS Direct, one of the nation’s leading direct marketing companies, announced today that it is expanding its production services to include targeted webcasts and rich media email for companies across the United States.

“This was really a natural progression of the advertising and production services we were already providing,” said Rodney Buchser, President of FMS Direct.  “Now, companies across the country have the opportunity to tell their story in a web-friendly, news-style format that is not only informative, but very compelling when it comes to generating a high level of interest in a company’s products and services,” added Buchser. 

Mr. Buchser, after co-founding the Financial News Network (later CNBC), launched FMS Direct to provide companies with integrated marketing and advertising solutions,  including short form commercials for television, infomercials, direct response radio, internet marketing, and DVD direct videos – customized electronic sales presentations that are fast becoming one of the most powerful and convincing tools to generate sales and revenues for clients. t electronic sales presentations that are fast becoming one of the most powerful and convincing tools to generate sales and revenues for clients. “This really is an incredibly powerful sales tool for companies,” said Walter Burch, Creative Director for FMS Direct. “Now companies can have their own professionally-produced feature stories very much in the style of 60 Minutes, 20/20, or Dateline NBC – and they are produced to speak directly and credibly to the target audience,” added Burch. 

About FMS Direct

Since 1983, FMS Direct has earned its reputation as one of the world's most successful direct response marketing and advertising agencies – producing more than 2000 short form commercials, 250 infomercials, and many highly successful integrated marketing campaigns for its clients.  FMS Direct has generated billions of dollars in sales for companies and products from virtually every category – including financial services, personal success, , fitness and beauty, automotive, health, household products, and others. 

In 2002, FMS Direct was honored by the Direct Marketing Association (DMA),  receiving the highest honor given to a Direct Response Advertising Agency: FMS Direct and client Monaco Financial, LLC received The Echo Award for the best advertising campaign for 2002 for Multi/Integrated Media. That same year, FMS Direct and client, Monaco Financial, LLC received the prestigious Henry Hoke Award, presented to the campaign with the “most courageous solution to a difficult sales marketing problem.”

A partial listing of FMS Direct's clients includes: Charles Schwab and Co. (SCHW), Monex Precious Metals, Experian, Dow Jones & Co. (DJ), Guthy-Renker Corporation, Holiday Spas, Investor's Business Daily (IBD), Pac-Tel Cellular, SyberVision, American Express (AXP), Edgar Morris, Inc., Medicus Formulas, Inc. (BioSlim), and Kemper Financial Services.

For more information regarding FMS Direct’s advertising, marketing, or production services, call (818)708-7814

Contact FMS Direct:  (818)708-7814


The Expanding Radio Dial
As radio options expand — but ad slots contract — DR comes to the forefront of the movement.

Feb 1, 2006
By: Bridget McCrea
Response Magazine

For years, Doug Monson would attend industry meetings, only to find himself somewhat distanced from the direct response television crowd. Huddled up with other DR radio types, this president of Portland, Me.-based Media Power Inc., would talk shop with them, and discuss at length the medium's growth potential. "There was a small group of us at these trade group meetings talking about all of the success we were having in radio," says Monson.

The year 2005 was different. At conferences, he and his colleagues fielded questions from the non-radio types who are now looking to maximize their existing campaigns through new channels. "In 2004, there were a lot of people who had heard about radio, but who didn't know what to do about it," says Monson. "This year, many of them were ready to move."

Driving the trend, says Monson, are marketers whose shows are doing well on TV, but who "want that extra 10 percent." Those who have yet to dabble in DRTV are also interested. "For certain products," says Monson. "DR radio is a place to test concepts and phone centers before investing in TV."

How It Works

Thanks to technology, people are listening more these days. Consumers are snapping up iPod personal media players, satellite radio service from XM and Sirius and cell phones that play media clips. They're listening to podcasts (one of Webster's Dictionary's newest additions), downloading clips from the Internet and willing to invest money in ring tones for their cell phones.

Seeing opportunity in the trend, companies that range from traditional DRTV marketers to brand advertisers are investing in DR radio spots and infomercials. Airing about 100 DR radio campaigns each month, for example, Minneapolis-based Marketing Architects has been working with customers in the financial services, self-improvement, health and fitness and home improvement industries. "Our DR radio clients range from Web-based services to more 'traditional' business models," says CEO Chuck Hengel.

Monson, whose firm produced both an energy supplement and weight-loss radio show last year, says the synergies between radio and TV make the former a great testing ground for those looking to launch on television. On the radio, for example, DR advertisers chose between 30-, 60- and 120-second spots, with the 60-second variety being the most popular. Price points also mirror TV, with products priced at $19.99, and — combined with a good offer — typically selling well in short form.

With production costs for radio infomercials ranging from $8,000 to $15,000, and spots fetching $5,000 to $10,000, Monson says the medium serves as the perfect testing ground for DRTV campaigns. Add in $5,000 for media, and you wind up with a relatively inexpensive way to soft launch a product without having to invest too much money and time.

"For that, you can get your telemarketing up to speed and receiving calls, and get all the pieces worked out before starting on your TV project," says Monson. "If all goes well, your radio show will grow and generate profits that can be used to fund your future TV or print efforts."

Brand advertisers seem to be catching on to these facts, says Monson, who has been contacted by several who want to use DR radio to launch brands. "It's a question of whether you want to go through another DR model (such as print) or radio before TV," says Monson, who points to retailers as one group that's taken an increased interest in radio. "Once they gain an understanding of radio and realize their ability to drive people to the store using radio, they treat that as its own independent channel."

Industry Trends

Radio production and media may be cheaper than television, but that doesn't mean the medium isn't challenging. In 2005, for example, the industry dramatically reduced the number of spots aired in response to major advertiser and audience complaints that radio is "over-commercialized." Led by Clear Channel Communications, which owns more than 1,200 radio stations across the United States, the movement has made finding cost-efficient media that much more difficult for marketers.

"It really hurt the direct marketer," says Hengel. The story doesn't end there, as some of the groups are considering further cutbacks. "Radio [companies are] basically saying, 'We're competing with all other media, and if we're not as sexy as these other channels, we certainly don't want to annoy people with commercials and turn them away,'" says Hengel.

As a result of the reduction, more marketers have been forced to use 30-second spots, versus the roomier 60-second variety. "With less inventory to work with," says Hengel, "the stations split the timeslots into 30s, thinking that they could charge 60 percent of the 60-second rate and avoid revenue drops." The problem is that telling a story in a half-a-minute is virtually impossible. "It takes 15 seconds just to deliver the call to action," Hengel says.

External forces are also having an impact on the DR radio advertiser who must find creative ways to handle the cell phone-toting society. The percentage of responders to radio ads using cell phones is 60 percent today — compared to just 25 percent three years ago. Difficult to engage and sell to, these responders require different sales approaches and call handling capabilities. Static, dropped calls and inattentive callers who may be driving or otherwise engaged at the time, all make it difficult to close the sale. "Cell phone usage is really impacting the back end of the radio response," says Hengel.

One of the newest technologies to hit the scene may benefit radio advertisers thanks to the increased number of channels and bandwidth that it offers. Known as HD radio, the high-definition variety of the medium will allow stations to split their HD transmissions into four signals. Already being used by 600 stations in the U.S., the technology requires listeners to have an HD radio receiver that Hengel expects to see standard on automobiles beginning this year.

Through HD radio, listeners will not only hear traditional stations, but also three additional side channels. One may be focused on traffic information, another on weather and yet another on music, for example. "Expect to see an explosion in content over the next five years, thanks to this technology," says Hengel, who adds that a consortium of radio ownership groups is investing $200 million in HD radio marketing.

What will it mean for DR radio advertisers? It could be a double-edged sword — as more channels mean more avails, yet more fragmentation leads to stiffer competition for listeners' attention. "There will certainly be challenges," says Hengel, "but for the most part the movement should create opportunity for advertisers looking to sell their goods on the radio via DR."

On the Radio

Not every DRTV success will translate well on radio. Joan Renfrow, president at Los Angeles-based Onyx Productions Inc., knows firsthand how some products require a visual treatment that radio can't provide. "A lot of products just don't cross over," says Renfrow.

For higher price point items, radio can serve as a gentle reminder that now may be the time to pick up the phone and buy. Radio can also help marketers who are looking to tap an audience previously unreachable via TV (the U.S. Hispanic market, for example, in the 1990s) and assist brand marketers in their quest to attract more customers.

But getting that done on the radio waves in just 30 or 60 seconds requires a dose of creativity and a willingness to persevere. "You have to get listeners' attention very, very quickly," says Walter Burch, creative director at FMS Direct in Tarzana, Calif. "You have five seconds — at the most — to do that, and to break through the clutter."

And remember that your spot may come on the heels of a high-budget, fine-tuned radio spot that will make a listener quickly "tune out" of a lower-budget production. "Think about how you're going to separate yourself, and how you're going to get their attention," says Burch.

In the quest to make every second count, Renfrow says some marketers tend to get overly creative, and wind up losing their audience in the process. "Stick with the basics," suggests Renfrow, who sees accountability-oriented marketers using DR radio as part of the overall advertising mix in the near future.

Test, Measure, Adjust

At FMS Direct in Tarzana, Calif., the company uses a simple formula to create effective DR radio shows: test, measure and adjust. While it may be fundamental in nature, and similar to one used by most DRTV firms, the formula is essential to success in DR radio.

"We're constantly testing shows," says Walter Burch, creative director, who will often produce a number of shows for one product, each with slight variations and sometimes with completely different messages. With radio production being more affordable — and faster — than TV, it allows for more leeway in this area.

Once the shows are produced, Burch and his team will roll them out for testing. A show that has two or three different creatives, for example, will be monitored to see which one pulls the best response. Exactly where the calls are coming in to, and/or which Web site received the most hits, are also monitored, to ensure a valid test.
Spots are then measured against one another, and the resultant information is used to adjust the campaign as necessary. "Even if a marketer has a substantial amount of money to put into radio, it still pays to test first to find out what show will be most effective," says Burch. "Then, the greater amount of the investment can be used only on those shows that will bring results."

Finally, the offer is important, and requires tweaking in order to best meet the needs of consumers who are listening in their cars, from work or on a portable music device. "You really have to get people to act," says Burch, "and give them a reason to pick up the phone or log on to a Web site."


Response Magazine
As submitted for print publication to Response TV Magazine
Question and Answer for Rodney H. Buchser, President, FMS Direct

1. What is the state of short-form spot production today as it relates to issues and costs?

Here’s my take on the issue and costs of Short form direct response TV commercials.  First, they are as popular as ever, even though the cost of production and media is rising. They are cost-effective, measurable and produce results.  That’s what an advertiser wants, isn’t it?  As the forerunner to the Infomercial, advertisers have been using this short form of DRTV since the introduction of the 800 telephone services and the implementation of the advanced system for “cashiering” – the credit card. These two factors also answer most questions relating to the tremendous increase of direct marketing and electronic retailing over the last three decades. 

The DRTV spot is still used most effectively by those companies offering a product for $29.95 or less, or an offer for free information, generally referred to as a “Lead Generation spot” or the Two-step marketing approach.

The Two-step marketing approach is still my favorite and it’s based on what I think offers the most powerful “Trigger Effect” in DRTV, the word FREE!  The first step is to get the viewer to respond to a Free Offer of some kind.  It may be a Free Brochure, a video, a special report, and so forth.  Now you have a “qualified prospect” for your product or service.  The second step is a follow up with a direct mail piece or a telephone solicitation, or both.  As a general rule, the Two-step approach is preferable when offering a product or service that has a high price point. 

It’s interesting to note that there are literally hundreds of very successful short form direct response spots airing each week that never make it to the top 10 list of the monitoring services.  Why?  Because those services monitor mostly product-oriented DRTV spots.  There are dozens of two-step lead generating spots that you can see each day, spending millions of dollars in advertising each year, but never make the list.  Mortgage companies, money lenders, mutual funds, insurance companies, precious metals companies, brokerage firms and so forth.  It would be interesting to see an accurate accounting for the lead generating of short form spots. 

2. Is it more expensive to produce short-form spots now than in recent years? To what do you attribute this change?

In most cases, the production costs have increased over the last few years. However, like all productions, the costs vary a great deal depending on variables.  Some DRTV products require more expensive spots than others do.  Variables like the desired quality of image, 35mm film vs. HD vs. Digital Beta vs. Mini Digital Video. High-end computer animation and PaintBox graphics vs. lower end graphics, or no graphics.  Expensive locations, studio facilities, expensive props vs. inexpensive locations and no props.  Number of shoot days usually is a major factor.  And then there is the creative team, producers, directors, writers and talent. Who you hire as your production team will automatically determine up to half your production budget.

Because the nature of direct response television advertising is to generate sales, and or qualified leads on an immediate basis, the bottom line is “Did the commercial work?”  “Did it generate a profitable return on advertising investment?” The primary intention of the short form spot is results.  Many times the most inexpensive TV commercials have worked the best for some products. However, a good high-end quality spot with powerful images aired with repetition and frequency will build better results, as well as brand name awareness of the product and company. 

I have some clients that prefer to use their increased advertising budget to increase the number of DRTV spots that they can air.  Quantity over Quality.  They put their advertising budget into airtime.  That’s okay as long as the spots you produce for them are profitable.  Since you are always in a testing mode with direct response anyway, this can make sense. One of my best bits of advice to a client is “never produce just one commercial.” Why not make two or three spots using a different creative approach for each?  If you plan your productions well, you should be able to produce or two or three spots at the same time, using the same locations, talent and crew for only a fraction of the overall budget.  For example, to shoot one 60 second DRTV spot featuring the “Amazing New Mouse Trap” for a production cost of $30,000, why not add about 25% more to the budget and do three spots with variations on a theme.  It can be done.  Now, you can test the creative approach of two or three different concepts.  I guarantee you that one of the spots will out pull the others in terms of response.  One of my financial clients which airs DRTV spots on a cable network everyday knows exactly the results of each spot within hours of its airing.  By being able to measure the results they can determine which spots are most cost-effective and profitable.

3. In your eyes, what's right and wrong with short-form spot production as it's being handled today?

I can’t say that I see anything wrong with what’s going on.  Again, DRTV is advertising always about testing.  In my book, CALL NOW! 1-800…. “How To Profit From Direct Response Advertising,” which was written exclusively for the direct response industry, I talk about how important it is to TEST, MEASURE, and ADJUST!  TESTING, MEASURING, ADJUSTING.  That’s what we DR people do, isn’t it?  DRTV is always in a state of testing. 

4. Can you walk me through the spot production process - from script writing to rollout?

I love the creative process of spot production, and it all starts with the Product and the Marketing Analysis.  It doesn’t make sense to begin writing a script or go into a pre-production without first answering the basic marketing questions about the product, its benefits, its primary target market and so forth. If the client has not provided you a “Marketing Plan” then the first step is developing the Plan. 

The Plan, which includes the creative strategic positioning of the product, becomes an invaluable and essential tool to determine the creative approach, and it will help you identify the “Marketing Formula:  What + Who = How To.”  This formula represents a very simple system of analysis, for example, if you know what you are selling and to whom, you can determine the “how.”  The development of the Marketing Plan and the Advertising Strategic Positioning is the first step.

Here are a just few of the important items that you discover when preparing a comprehensive Marketing Plan: 

  • Identify your Primary Target market; (testimonials from real people) 
  • Identify your Unique Selling Proposition; (Strategic Positioning Statement for the product)
  • Identify your creative approach, the hook, and an irresistible offer;
  • Identify the Benefits of the product; (the results that the consumer wants or needs)
  • Identify the Key Selling Messages; 
  • Identify the features of the product;
  • Identify the Product Offer and any upsells.
  • Identify the Power Statements and Nodding Effect Statements;

5. Are there any spot production/creative terms that you can think of that we might define for readers?

In many of the short form and long form DRTV productions, we use Testimonials.  There are several kinds of testimonials.  Real people testimonials, for example, are actual consumers of the product or service whose experiences and expressions are filmed or video taped for use in a DRTV commercial.  A Credentialized Endorsement however is any testimonial endorsement from a celebrity or a knowledgeable professional of perceived “high credibility.”  Finally, you can hire an actor to provide a paid “testimonial” for a product or service.

Two other terms used in the copywriting process are Neural Linguistic Programming (NLP) and Hypnotic Selling. Hypnotic Selling Messages– Suggestive copywriting techniques that include certain words, phrases and “style” that are compelling and persuasive.  Hypnotic selling also uses words that can create “future pacing” or a strong “suggestion” that move prospects to action now and or in the future.  Example, “Once you feel and hold this product in your hand, you will be so happy.  It’ll make your day!”  Or “After your doctor prescribes this product, and you take it, you will begin to feel relief immediately.” Suggestive copy and imbedded commands are very powerful.

NLP, as developed by John Grinder and Richard Bandler, and brought into prominence by Anthony Robbins (Unlimited Power) is a scientific technology used for “influencing oneself and others” or for “getting results.”  From a selling point of view, NLP has been an invaluable tool in providing the right DRTV presentation. 

A general definition of NLP is the technology that can change ones behavior (Programming) by changing the way one communicates (Linguistics) to him/herself or others and "presents” information to the brain (Neural).  According to NLP, people perceive and experience the world in the form of three basic modalities: Visual, Auditory, and Kinesthetic or feeling.  The basic idea of NLP is that you can influence your beliefs and feelings about anything by the way in which you communicate your thoughts and feelings (linguistics) to yourself, or others. The fundamental key initializing the powerful NLP technology in a sales presentation is to write copy that develops a rapport and resonance with the target audience. It is said that each of us will respond and relate to all three modalities but one is usually more dominant.

A Visual person will respond most effectively to words, phrases and sights that relate to vision.  They will respond to words like visualize, see, imagine, watch, look, view, picture and so forth. 

An Auditory person is a person who will most likely respond more to words and phrases that relate to sound and music like: hear, listen, sounds, and so forth. 

The Kinesthetic person is a feeling person that responds primarily to feeling words or phrases.  Naturally words like feel, feelings, touch, and sense, are triggers for the kinesthetic person.  Music moves both the kinesthetic and auditory persons. 

Whenever possible, a good copywriter who knows and understands the power of NLP or Hypnotic Selling will include imbedded commands, statements, suggestions (future pacing) in the copy points.  In our direct response commercials or Infomercials, we actively use suggestive copy and NLP.  For example, in the Infomercial for a pain relieving device entitled, “Freedom From Pain,” the voice-over introduction to the Program, as well as the opening line for each commercial, stated the following:  “Imagine what it would feel like to have your pain disappear!”  We also added copy like, “Hear what the experts say.”  It should be obvious that we used words that would trigger a response from each of the three categories:  Visual (Imagine, disappear), Auditory (Hear, say) and Kinesthetic (Feel). 

6. Currently, what type of companies are using spots? Fortune 500 companies?  Dot.coms? Others?

There are a growing number of companies utilizing the short form strategy.  It appears financial institutions, including those in the Fortune 500, are expanding into this market.  Of course, what is to be expected, virtually all of the lead generating spots are also featuring their web site address.  One of my financial clients has indicated a respectable growth in sales over the Internet as a direct result of us adding their URL web site address to all of their DRTV spots.

7. How is the creative process changing when it comes to spots? Is it becoming more elaborate? More expensive?

I think the creative process for short form is every bit as challenging as that of long form.  You essentially need to know the same information for a short form as you do an Infomercial.  You develop the same Marketing Plan and Advertising Strategic Postioning Statements.

I would say this.  Because the cost of media continues to increase, it is more and more difficult to develop a winning advertising campaign.  Therefore, campaigns are now more elaborate, more thought out.  This means that a creative concept may also be more expensive.  It used to be you would see a product, write the script and put it on the air.  Now, it takes a well conceived presentation based on research and market analysis to make a campaign succeed. 

Here are two quotes that put the creative process in perspective:

“Advertising isn’t a science.  It’s persuasion.  And persuasion is an art.”  Bill Bernback  (Advertising Agency man)

“To be persuasive, we must be believable, to be believable, we must be credible, to be credible we must be truthful.” Edward R. Murrow (Legendary TV News Reporter)

8. Can you give us a few tips to keep in mind when producing a successful spot?

First, the best advertisement is a great product, so make sure the product is of high quality, priced right and that it works!  Truth in advertising is always the best place to start.  The truth sells!  Also, remember what the late, great David Olgilvy said about creative advertising.  He said, “It’s NOT CREATIVE, unless it SELLS!”  The bottom line is all advertising is selling, but the results of DRTV are immediate and measurable.  Therefore, if you do your homework and generate sales results, you were creative. 

Secondly, as I said before, “never produce just one spot.”  Find a way to at least produce two spots with a different creative approach and test the two against each other.  Sometimes the only difference has to be the opening 10 seconds, the closing 10 seconds, or a different product offer, or bonus (when you call now, you’ll also get absolutely free, etc.)  Be creative and you can do several spots for just an additional fraction of the original budget. 

Finally, when writing, directing and producing a spot, I always go through my checklist to make sure everything is covered. For your information, here is my abbreviated DRTV Checklist of what should be included in a good direct response television commercial:

  • Attention Grabbing Opening or Hook: Grab the immediate attention of viewer and sustain interest throughout the commercial
  • Problem / Solution: Clearly express a common problem that your product solves and that your target market can relate to.  Express or create a need and fulfill it.
  • Primary Target Market: Identify and attract your Primary Target Market.  Develop a rapport and resonance with the potential buyer of your product.
  • Unique Selling Proposition: Clearly express your USP both verbally and visually.  Compare with other products if you have to.  Demonstrate and compare product when appropriate
  • Promise / Guarantee: Make a promise and guarantee to your viewers.  What are the guaranteed benefits of the product?  How will the consumer feel when they have the product? 
  • Overcome Objections and Skepticism: Overcome skepticism, doubt and objections in advance, such as credibility, price and quality, while at the same time, instilling confidence in the buyer.
  • Testimonials Sell It Like It Is: People buy from people, people they can relate to and trust. Use real people testimonials whenever possible.
  • Sense of Urgency or Scarcity: Instill a sense of urgency in its call to action.  Use logical and emotional reasons why the viewer has to act now.  Perhaps it’s a “limited time offer” or “limited product availability.” Give a valid reason for their desire and want, “Gotta have it now!”
  • Trustworthy and Authoritative Spokespersons: Create a sense of trust and authority by hiring the right talent.  If a celebrity is desired, make sure the celebrity is a natural fit for the product.
  • Credentialized Endorsements: Testimonials from people that have certain professional knowledge or specialized skill are “credentialized endorsements.”  Authority figures with credibility add impact. 
  • Good Price to Value: Eliminate or reduce price resistance. Create and Build perceived value greater than the price, adding more value before mentioning the price. 
  • Free or Bonus Items: Don’t forget that it’s human nature to want something for free.  Give people what they want.  Offer as many truly valuable free items, gifts or bonuses to increase the perceived value of your product offer.
  • Money Back Guarantee: It has been proven that “100% Satisfaction Guaranteed”, or the “30 Day Money Back Guarantee” are decision making factors for the consumer.  Remember too, that you are offering a  “risk-free opportunity to try this product in the convenience and comfort of your own home.”
  • Compelling and Persuasive Copy: The words that you ultimately decide to use in your presentation obviously make a difference, as does the sequence or syntax of them.  Make sure to incorporate words (visually and audibly) that sell.  Also, use the technology of Neural Linguistic Programming (NLP) and Hypnotic Selling Messages using words in a visual context. 
  • Passion, Conviction and Emotion: If your advertisement doesn’t have these, what can I say?  Develop it, uncover it, manufacture it (with integrity), but have it, or forget it.
  • Stimulating Visual Effects: As the commercial is primarily a visual medium, use special effects and computer graphics for two basic reasons: First to sustain interest in the sales presentation, and second, to help visually present the product, its uniqueness, and its benefits.
  • Emotional and Motivating Music: Music can lift us up, bring us down, and move us to tears.  It happens to be one of the most potent of art forms for eliciting a specific response from a consumer. Use music to evoke the right mood, from creating a rapport with the target market, to embellishing the energy of the presenter, to creating the sense of urgency to “make that call now!” Music can create powerful results.
  • Motivators:  Which of the primary motivators can you use?  Fear, Greed, Desire, Shame, Guilt, Truth?
  •  Tell The Truth:  Every good product has powerful, irresistible reasons for ownership.  The  truth brings the passion, conviction, and emotion to your sales presentation.  And of course, you must be able to substantiate and justify all claims made in regards to your product.  Don’t say it, unless you can back it up.
  • Educate / Inform / Entertain:  Most successful DRTV campaigns provide a well balanced presentation that sells, informs, educates and entertains.
  • Visual Identification:  Provide a visual identification (logo, product name or USP) that is displayed intermittently on a portion of the screen.  This technique will help stop the channel flippers and its “visual hook” will help your primary market identify with the product and their needs/wants.  It also establishes and maintains brand name awareness and product and company recognition.
  • The Nodding Effect: Does your presentation create compliance or agreement with your primary target market?  The prospective buyer should be agreeing with evidence and answering yes to any question posed.  You can control the sales process by asking the right questions or making the right statements that the audience will have to nod in agreement.  Having a prospect nod in the affirmative while you are making a presentation is what we want, isn’t it?  If there truly were a cost-effective way to create a sure-fire success with your next DRTV spot production, wouldn’t you want to try it?  Of course, you would….

23.  Close The Sale:  Ask for the order always!  Use professional closing techniques.  Tell your audience what to do.  Realize that all good sales presentations are always progressively moving the prospect to the “close.” Ask for the order always!

*Average Production Budgets for Short Form DRTV Spots 
*Does not include talent

 

Lower End

 

Higher End

Script Consultation/concept:

$1000

$3000

Script:  

2000 

10000

Music/Audio:

500 

5000

Crew/Equipment:  

2500 

 20000

Location/Studio:

1000

10000

Art Direction/Stylist:  

750 

7500

Props and Set:  

500

15500

Editing:

5000 

20000

Catering:  

500

1000

Producer:

2500

15000

Director:

2500

15000

Voiceover:

500 

1500

Animation/Graphics:

1000

15000

Insurance and Misc

1500

5000

Markup:  (35%)  

7612 

48475

Total:

$29,362

$193,725

 

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