Rhen Christian Santos Marygrace Saberon

RHEN CHRISTIAN SANTOS
MARYGRACE SABERON
WRITING FOR THE WEB
WHEN WRITING FOR THE WEB, USING PLAIN LANGUAGE ALLOWS USERS TO
FIND WHAT THEY NEED, UNDERSTAND WHAT THEY HAVE FOUND, AND THEN USE
IT TO MEET THEIR NEEDS. IT SHOULD ALSO BE ACTIONABLE, FINDABLE, AND
SHAREABLE.
IT’S IMPORTANT TO UNDERSTAND HOW WHAT YOU ARE WRITING FITS INTO
THE OVERALL CONTENT STRATEGY WHAT THE CONTENT LIFECYCLE ENTAILS, AND
WHO IS INVOLVED IN THE PROCESS.
WHY IT MATTERS?
PEOPLE READ DIFFERENTLY ONLINE THAN THEY DO WHEN THEY READ PRINT MATERIALS -- WEB
USERS TYPICALLY SCAN FOR INFORMATION. IN A STUDY OF ONLINE READING BEHAVIOR ,
JAKOB NIELSEN FOUND THAT “ON THE AVERAGE WEBPAGE, USERS HAVE TIME TO READ AT MOST
28% OF THE WORDS DURING AN AVERAGE VISIT; 20% IS MORE LIKELY”.
IDENTIFY YOUR USERS’ TOP TASKS
• PEOPLE COME TO YOUR WEBSITE WITH A SPECIFIC TASK IN MIND. WHEN

DEVELOPING YOUR SITE’S CONTENT, KEEP YOUR USERS’ TASKS IN MIND AND WRITE
TO ENSURE YOU ARE HELPING THEM ACCOMPLISH THOSE TASKS. IF YOUR WEBSITE
DOESN’T HELP THEM COMPLETE THAT TASK, THEY’LL LEAVE. CONDUCT MARKET
RESEARCH, PERFORM A TASK ANALYSIS AND OTHER TYPES OF USER RESEARCH,
AND ANALYZE METRICS TO BETTER UNDERSTAND WHAT USERS ARE LOOKING TO
ACCOMPLISH.
• KNOWING YOUR USERS’ TOP TASKS CAN HELP YOU IDENTIFY:
• CONTENT TO FEATURE ON YOUR HOMEPAGE OR LANDING PAGES
• PAGE HEADERS AND SUB HEADERS
• A LOGICAL STRUCTURE TO EACH PAGE’S CONTENT
HOW TO WRITE TELEVISION COPY
• MOVING ACTION MAKES TELEVISION SO MUCH MORE ENGAGING THAN PRINT

• THE CHALLENGE IS TO FUSE THE IMAGES WITH THE WORDS TO PRESENT A CREATIVE CONCEPT
AND A STORY
• STORYTELLING IS ONE WAY COPYWRITERS CAN PRESENT ACTION IN A TELEVISION
COMMERCIAL MORE POWERFULLY THAN IN OTHER MEDIA
PLANNING THE TV COMMERCIAL
• WHAT’S THE BIG IDEA
• WHAT’S THE BENEFIT
• HOW CAN YOU TURN THAT BENEFIT INTO A VISUAL ELEMENT
• GAIN THE VIEWER’S INTEREST
• FOCUS ON A KEY VISUAL
• BE SINGLE MINDED
• TRY TO SHOW THE PRODUCT
PLANNING THE TV COMMERCIAL
• COPYWRITERS MUST PLAN

– LENGTH OF THE COMMERCIAL
– SHOTS IN EACH SCENE – KEY VISUAL
– WHERE AND HOW TO SHOOT THE COMMERCIAL
• SCENES
– SEGMENTS OF ACTION THAT OCCUR IN A SINGLE LOCATION
• KEY FRAMES
– THE VISUAL THAT STICKS IN ONE’S MIND
SCRIPTS AND STORYBOARDS
• SCRIPT
– THE WRITTEN VERSION OF THE COMMERCIAL’S PLAN
– PREPARED BY THE COPYWRITER
• STORYBOARD
– THE VISUAL PLAN OR LAYOUT OF THE COMMERCIAL
– PREPARED BY THE ART DIRECTOR
COPYWRITING IN A GLOBAL ENVIRONMENT
• LANGUAGE AFFECTS THE CREATION OF THE ADVERTISING

• STANDARDIZING COPY CONTENT BY TRANSLATING THE APPEAL INTO THE LANGUAGE OF THE
FOREIGN MARKET IS DANGEROUS
• USE BILINGUAL COPYWRITERS WHO CAN CAPTURE THE ESSENCE OF THE MESSAGE IN THE
SECOND LANGUAGE
– BACK TRANSLATION
VISUAL
COMMUNICATION
IT IS ANY FORM OF
COMMUNICATION THAT CONVEYS
AN IDEA THROUGH VISUAL AID. IT
THEREFORE, RELIES PURELY ON
VISION.
SIGNAGE TYPOGRAPHY ILLUSTRATION
IMPORTANCE OF VISUAL COMMUNICATION
• IT SAVES TIME
• VISUAL COMMUNICATION IMPROVES THE CLARITY OF INFORMATION
• GIVES BETTER RETENTION OF INFORMATION
• FLEXIBILITY IN VISUAL COMMUNICATION MAKES IT BETTER THAN VERBAL COMMUNICATION
• PEOPLE LOVE WATCHING IMAGES, GIFS, GRAPHIC VIDEOS RATHER THAN LISTENING TO
WORDS OR AN ADVERTISEMENT
BROADCAST PRODUCTION
FILMING AND EDITING
• CREATE A STORYBOARD AND/OR SHOOTING SCRIPT
BEFORE YOU EVEN THINK ABOUT GETTING YOUR CAMERA EQUIPMENT READY, CONSIDER
PUTTING A STORYBOARD AND SHOOTING SCRIPT TOGETHER. STORYBOARDING HELPS YOU
FIGURE OUT EXACTLY WHAT SHOTS YOU NEED BEFORE YOU START FILMING, AND
A SHOOTING SCRIPT IS LIKE A SCREENPLAY FOR YOUR VIDEO.
• PREP YOUR PRESENTERS OR INTERVIEW SUBJECTS

MAKE SURE ALL YOUR PRESENTERS OR SUBJECTS KNOW WHAT’S EXPECTED OF THEM
BEFOREHAND TO MINIMIZE MISTAKES OR WASTED TIME ON THE DAY OF THE SHOOT.
• MANUALLY SET YOUR CAMERA’S
WHITE BALANCE
NOW WE KNOW THAT DIFFERENT
LIGHT SOURCES HAVE DIFFERENT
TEMPERATURES, WE NEED TO
ACCOUNT FOR THESE TEMPERATURE
RANGES BY MANUALLY SETTING THE
CAMERA’S WHITE BALANCE – A
PROCESS THAT BASICALLY TELLS THE
CAMERA WHAT “TRUE WHITE”
LOOKS LIKE IN AN ENVIRONMENT TO
AVOID COLOR CASTING.
• CHECK THE ACOUSTICS OF YOUR FILMING LOCATION
BEFORE YOU START FILMING, CHECK THE ACOUSTICS OF THE LOCATION IN WHICH YOU’RE
SHOOTING. IS THERE AN ECHO? IF SO, TRY AND FIND SOMEWHERE ELSE TO SHOOT. YOU CAN FIX A
LOT OF AUDIO PROBLEMS IN POST-PRODUCTION, BUT EVEN A FAINT ECHO CAN BE A NIGHTMARE TO
GET RID OF COMPLETELY.
• SHOOT MULTIPLE TAKES

ON THE DAY OF THE SHOOT, MAKE SURE TO RUN THROUGH MULTIPLE TAKES. THIS PROVIDES YOU
WITH A SAFETY NET IN CASE YOU NOTICE SOMETHING WRONG WITH ONE OF THE TAKES, AND
ALLOWS YOU TO EDIT TOGETHER YOUR FINAL SEQUENCE FROM SEVERAL CLIPS OF THE SAME
SEQUENCE RATHER THAN RELYING ON JUST ONE.
• TIDY UP YOUR CLIPS BEFORE YOU START ASSEMBLING THE ROUGH CUT
WHEN IMPORTING YOUR FOOTAGE INTO YOUR EDITING PROGRAM, CLEAN UP YOUR CLIPS AS YOU
IMPORT THEM.
• CHOOSE YOUR MUSIC CAREFULLY
NOT EVERY VIDEO NEEDS BACKGROUND MUSIC, BUT IF YOU’VE DECIDED THAT YOURS DOES, BE
CAREFUL ABOUT YOUR CHOICES.
• DON’T ASSUME YOU CAN FIX EVERYTHING IN POST-PRODUCTION

DON’T ASSUME THAT ANY AND ALL PROBLEMS WITH YOUR VIDEO CAN BE FIXED IN POST-
PRODUCTION. SOMETIMES, YOU SIMPLY WON’T BE ABLE TO CORRECT THE BRIGHTNESS OR
CONTRAST OF A SHOT AS MUCH AS YOU NEED TO, OR MANAGE TO ISOLATE A SINGLE
PERSON’S VOICE IN A ROOM CROWDED WITH HUNDREDS OF PEOPLE.
CREATING AN EFFECTIVE TV COMMERCIAL
• BREAK THE PATTERN
“THE ATTENTION SPAN OF OUR SOCIETY IS CONSTANTLY SHRINKING AND IT IS VERY HARD TO GET
PEOPLE TO NOTICE YOUR AD UNLESS YOU ARE ABLE TO BREAK THE PATTERN FOR THEM. MAKE
SOMETHING THAT LOOKS BORING AND THEN BREAK THE PATTERN.
• DON’T BE BORING
“ASK YOURSELF IF YOU WOULD GENUINELY ENJOY THE COMMERCIAL. OFTENTIMES, ORGANIZATIONS
GET STUCK IN A BUREAUCRATIC PROCESS WHERE EVERYONE HAS TO APPROVE EVERY SINGLE DETAIL
AND THE CREATIVITY GETS CUT OUT. MAKE SURE IT’S FUN, ENGAGING, AND RELEVANT TO THE
AUDIENCE YOU’RE MARKETING.”
• FOCUS ON THE FIRST THREE SECONDS
“TODAY WE ARE BOMBARDED WITH ENDLESS MEDIA THAT TENDS TO RAMBLE ON AND ON. WE HAVE
BECOME SO IMMUNE TO REPETITIVE MESSAGES AND LONG-FORM STORYLINES THAT WE
AUTOMATICALLY DISENGAGE AFTER THE FIRST THREE SECONDS
• USE INFLUENCERS
“INCLUDE AN INFLUENCER IN THAT INDUSTRY AND AN APPLICATION THAT ADDS CREDIBILITY AND ESTABLISHES A
MEMORABLE VISUAL FOR THE PRODUCT YOU ARE ADVERTISING. PEOPLE WANT TO KNOW THAT PEOPLE THEY
ADMIRE APPROVE OF THE PRODUCT OR BRAND.”
• TELL A COMPELLING STORY

VIEWERS TODAY HAVE VERY SHORT ATTENTION SPANS AND MANY PEOPLE TUNE OUT CONVENTIONAL
ADVERTISEMENTS AND TV COMMERCIALS. YET TELEVISION IS STILL A POWERFUL MEDIUM IF YOU FIND A WAY TO
DRAW IN YOUR AUDIENCE. TO DO THIS, YOU HAVE TO GET BEYOND THE STYLE OF TYPICAL ADS AND TELL A
STORY
• FOCUS ON BUILDING BRAND AWARENESS

“TO MAKE AN IMPACT ON TODAY’S AUDIENCE, YOU REALLY NEED TO STAND APART AND MAKE AN ORIGINAL
STATEMENT ABOUT YOUR BRAND. REMEMBER THAT YOUNGER VIEWERS GREW UP WITH SOCIAL MEDIA,
COMPUTER GAMES, AND BIG BUDGET MOVIES SO THEY RESPOND TO IMAGES MORE THAN DRY FACTS ABOUT
YOUR PRODUCT.
• USE A MEMORABLE TAGLINE OR JINGLE
“DO SOMETHING THAT IS UNCONVENTIONAL, YET MEMORABLE. A TAGLINE CAN MAKE IT EASY FOR
PEOPLE TO REMEMBER WHAT YOU DO, ESPECIALLY IF YOU ADD HUMOR OR SOME OTHER WAY FOR
THE AUDIENCE TO CONNECT WITH IT.
• TRY PRODUCT PLACEMENT
“EVERY DAY, MORE AND MORE PEOPLE ARE CHOOSING TO OPT OUT OF COMMERCIALS. THEY DO
THIS BY FAST FORWARDING COMMERCIALS, WATCHING NETFLIX, OR PAYING A PREMIUM. PRODUCT
PLACEMENT WORKS BECAUSE IT DOESN’T INTERRUPT THE VIEWER FROM THEIR FAVORITE SHOW, BUT
IF DONE PROPERLY, IT CAN ACTUALLY ENHANCE THE SHOW BY MAKING IT MORE MODERN.”
• TIE TO SOCIAL MEDIA CAMPAIGN
“TIE THE TV AD SPOT TO AN EXISTING SOCIAL MEDIA CAMPAIGN TO CROSS-MARKET AND
ACKNOWLEDGE THE FACT THAT CUSTOMERS AND AUDIENCE MEMBERS LOOK ON MULTIPLE
PLATFORMS AND LIKE THE IDEA OF BEING COMMUNICATED ACROSS THE PLATFORMS
• USE GOOD VOICE OVER
“THE HUMAN VOICE IS A POWERFUL INFLUENCE WHEN IT COMES TO MAKING AN AUDIENCE FEEL A
DESIRED EMOTION OR BUY A GIVEN PRODUCT.
TV COMMERCIAL PRODUCTION PROCESS
• CREATIVE CONSULTATION
DURING THE CREATIVE CONSULTATION PROCESS, THE ADVERTISING AGENCY OR PRODUCTION
COMPANY TALKS TO THE CLIENT ABOUT WHAT THE CLIENT WANTS TO SAY WITH HER
TELEVISION COMMERCIAL.
• PRE-PRODUCTION
THE PRE-PRODUCTION PROCESS INCLUDES SCRIPTWRITING, LOCATION SCOUTING, PROP
COLLECTION, HIRING ACTORS, EQUIPMENT RENTING AND CREATING SHOT-LISTS. THE PRE-
PRODUCTION STAGE IS THE STAGE IN WHICH ALL OF THE TV COMMERCIAL'S SCHEDULING IS
CREATED.
• PRODUCTION
THE ACTUAL FILMING OF THE COMMERCIAL THE DIRECTOR COORDINATES THE SHOOT USING
THE SHOT LIST AND SHOOTING SCRIPT ONCE ALL OF THE SHOTS ARE FILMED, THE DIRECTOR
SENDS THE FILM, TAPE OR VIDEO FILES TO THE EDITOR.
• POST-PRODUCTION
THE POST-PRODUCTION PROCESS INCLUDES ALL VIDEO EDITING, SOUND EDITING AND
EXPORTING OF THE TV COMMERCIAL. VIDEO EDITING IS PERFORMED ON A NON-LINEAR
EDITING SYSTEM (NLE).
7 PRINCIPLES OF EFFECTIVE WEB DESIGN
1. PURPOSE
2. COMMUNICATION
3. TYPEFACES
4. COLOURS
5. IMAGES
6. NAVIGATION
7. LOAD TIME

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Rhen Christian Santos Marygrace Saberon

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RHEN CHRISTIAN SANTOS

• PEOPLE COME TO YOUR WEBSITE WITH A SPECIFIC TASK IN MIND. WHEN

• MOVING ACTION MAKES TELEVISION SO MUCH MORE ENGAGING THAN PRINT

• COPYWRITERS MUST PLAN

• LANGUAGE AFFECTS THE CREATION OF THE ADVERTISING

• PREP YOUR PRESENTERS OR INTERVIEW SUBJECTS

• SHOOT MULTIPLE TAKES

• DON’T ASSUME YOU CAN FIX EVERYTHING IN POST-PRODUCTION

• TELL A COMPELLING STORY

• FOCUS ON BUILDING BRAND AWARENESS

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