TV III Branding

So this is how it looks like: TV III Branding.

I’ll let you fantasise a little about this beautiful schematics :), before I come back and finish this post.

Gotta go now.

Well, TV branding strategies are different in each television era, mostly because of their distinct market structures. For instance, in TV I, brand management was limited to basically differentiate a few broadcasters from each other (so here is TV I Branding), whilst in TV II, in a multi-channel environment, brand strategies not only aimed at differentiation, but also at attracting, retaining and keeping audiences returning to the channel (TV II Branding).

But in TV III, things get a lot more complicated. Now there is much more competition, including new platforms that easily disperse viewers’ attention from the traditional TV. On the other hand, these new platforms supply consumers with new entry points to the brand domain, and since many of these new platforms are owned by one same media conglomerate, things might get a lot smoother.

I believe, besides all these reasons, that it is the social and behavioural changes, as a consequence of all the technology and economic advances, the elements that best characterise TV III Branding strategies.

Technology presented viewers with more options, more control and more power. Viewers are better informed, better connected and less predictable. Viewers are overwhelmed with choice, and they don’t depend on top down information for knowledge of content, now they are a click away from each other, they share opinions, they compare experiences, and sometimes, they even negotiate with content creators.

The abundance of options gave viewers (or viewsers, in the words of Shelly Palmer) another perspective in the balance between audience and aggregator. The most contemporary authors of books on branding often say that the brand doesn’t belong to the company, but to the consumer. This couldn’t be more true in TV III. TV III Branding is about managing the expectations of the new audience, embracing their intense participation.

The diagram above shows sets of new attributes for each one of the three practical constituents of the TV brand. Each attribute specifies a relevant way of doing the job, that at the end of the day will contribute to add value to the channel or programme brand. We are talking about media management here, so it is very practical, no theoretical rubbish (of which probably you’ve seen too much already).

The next post starts with the process of building brand equity in TV III through aggregation. And I swear to Dawkins that I’ll try to bring some cool examples for you guys and girls. :)

PS: I’m off to watch All the President’s Men because I can’t stand to see Rob Lowe’s deep ocean blue eyes in that Orange advert that screens at the cinemas and not know how is the original of the remake he wants to produce. Personally, I’d like to strangle the Head of Marketing at Orange for burning my patience by showing that thing every single time I go to watch a movie. And I still couldn’t get that one with Snoopy Dog off my mind. Good frequency does not equal overexposure.