adverts

Who is the target audience of both forms?

Both adverts target a mass audience as the TV advert was premiered during the Champions League game betwee Liverpool and  Olympique Lyonnais match at 8.45pm. It will also play out on ITV1 during the Champions League match between Arsenal v AZ Alkmaar around the same time; whereas the billboard was place on a very densly populated strip. The both are different media texts but the video advert targets a cult followers of Guiness that understand the 'Good Things Come To Those Who Wait' campaign. The Tv ad introduces the end to the good things comes to thoes that wait era to a brand new 'bring it to life' era. The TV ad uses constant CGI and dramatic music to empathise the patiently waiting theme where as the billboard is located on the side of a potentially traffic jammed motorway to help get the patiently waiting theme across to the audience. 

What devices/techniques, and technical and symbolic codes have been used to engage audiences?

The TV as begins with an establishing track shot that shows absolutely nothing to the audience at the time. The significance to this shot becomes clear later on where is shows a man standing on a moon-like planet preparing a rocket. That establishing shot positions the audience to have some sort of expectation. This reinforces the good things come to those that wait theme. Both adverts have a sense of enlighment; as the Tv advert only shows the product at the end of the advert and the billboard having underlighing, almost bringing it to life. The characters in the Tv ad are playing the role of God as they manually make rivers and shape the earth. The idea being that this world-creation is a metaphor for the famous surge and settle motion of a pint of Guinness and the way it comes alive in front  of your eyes when poured. This is done by the constant cloe up tilt shots of each of them to show power in each and every one of them. The ad is trying to stress that Guinness is more than just alcohol and nevertheless a living experience. It comes to life in when poured and liquid hits the bottom of the glass. There’s an explosion of energy. Clouds form - churning, swirling and surging. They defy gravity, moving downwards and then upwards, leaving behind perfect Guinness. At the same time, almost by magic, a creamy white head forms on the drink. When the process finishes something amazing has been created. However The Billboard has a God-like nature with the lighting from behind like you would as if its emerging from the heavens itself.

Analyse Genre and Narrative

 Tv ad a more meaningful narrative compared to the billboard Ad. To someone that doesnt even like guniess or drink it, could apperciate the wonderful cinematography of CGI. They both help in telling the story of man creating the big bang and shaping the earth in their eyes. The piano symphony help tell the ongoing story connecting the next shot to the previous one, giving this 90 second ad a movie feel. To cult followers of guinnes, this ad would be a mystery to them as its the start of a new era and slogan. With that being said, the ad uses its cinematography to target a contempry audience with the start of something new.The billboard Ad shows no direct narrative at the time but may subconcieiously target the audience by the words 'eventually you'll see the light' suggesting unless you try it, you're missing out and would always be in dark. 

What institutional factors are relevant?

Guinness extended their ‘Bring It To Life’ campaign through the launch of a Bring It To Life partnership with Google Earth. Visitors can use customised Google Earth technology to create their own planet, then ‘Bring It To Life’ by selecting terrains and designs for the planets’ landscape. They used facebook integration to allow creations to be shared with Facebook friends and Facebook friends can be invited to co-create and participate in the development of Bring It To Life planets. Also, prizes were unlocked as the game progresses and players could of won crates of Guinness, with the ultimate winner getting a years supply.

The Ad ran as 90, 60, 30 and 20 seconds ads on TV as well as in cinema, online and print targeting a wide range of audiences. The manchester born director ahad assistance from the recruitment of Grant Major, the production designer from The Lord of the Rings, and Wally Pfister, the cinematographer on the Batman movie The Dark Knight.