Traditional Media Planning

Introduction

Traditional media planning is the systematic selection, scheduling, negotiation, and evaluation of mass-media opportunities used to deliver a brand message to a defined audience. Although digital platforms have transformed measurement and buying, television, radio, print, cinema, and out-of-home (OOH) media remain important because they provide scale, contextual presence, geographic targeting, credibility, sensory impact, and access to audiences that may be fragmented across digital environments.

At graduate level, media planning should not be understood as choosing the cheapest medium. It is a managerial process that connects marketing objectives, audience insight, creative strategy, budget, media supply, timing, and measurement. A medium is valuable only in relation to a communication task. Television may be appropriate for demonstrating a product nationally; radio may be superior for local frequency; magazines may provide specialist credibility; cinema may deliver high-attention audiovisual exposure; and OOH may dominate a consumer's physical journey.

Traditional media planning also requires critical judgment. Audience figures are estimates rather than direct observations of every individual. Media costs vary by market, season, programme, position, format, demand, and negotiation. Consequently, planners must combine quantitative indicators with qualitative evaluation of context, attention, creative fit, brand safety, and consumer behavior.

Learning Objectives

By the end of this chapter, students should be able to:

1. Explain the role and characteristics of television, radio, print, magazines, cinema, and OOH media.
2. Compare traditional media according to audience, format, geography, scheduling, cost, creative requirements, strengths, and limitations.
3. Apply reach, frequency, gross rating points, cost per thousand, and cost per rating point in planning decisions.
4. Interpret buying conventions and distinguish media cost from total campaign cost.
5. Construct an integrated traditional-media plan for a defined marketing problem.
6. Evaluate measurement, ethical, regulatory, and technological issues affecting traditional media buying.

1. The Planning Logic of Traditional Media

A media plan translates strategy into exposure opportunities. The basic sequence is:

Business objective → communication objective → audience definition → media role → vehicle selection → scheduling → budget allocation → buying and negotiation → verification and evaluation.

A communication objective should specify what the audience must know, feel, or do. A planner then defines the target audience using demographic, geographic, behavioral, lifestyle, or consumption variables. The audience definition must be operational: “adults aged 25–54 in metropolitan areas who purchase premium coffee” is more useful than “the general public.”

1.1 Media class, vehicle, unit, and placement

A media class is a broad category such as television or radio. A media vehicle is a specific outlet within that class, such as a television network, radio station, newspaper, magazine, cinema chain, or billboard operator. A media unit is the purchasable exposure, such as a 30-second television spot, a radio commercial, a full-page advertisement, a magazine insertion, a cinema screen spot, or a four-week billboard posting. A placement is the location and time of the unit, such as a commercial break in a particular programme or a right-hand page in a magazine.

1.2 Audience concepts

Important audience measures include:

• Universe: the total population eligible to be measured.
• Target audience: the segment specified by the campaign.
• Exposure: an opportunity for an audience member to encounter a message.
• Reach: the number or percentage of different target individuals exposed at least once.
• Frequency: the average number of exposures among reached individuals.
• Impression: one exposure opportunity, often expressed as a count.
• Rating: the percentage of the relevant universe represented by an audience for a programme, issue, spot, or vehicle.
• Audience duplication: the extent to which the same individuals appear in more than one vehicle or exposure.

Reach and frequency are not interchangeable. Reach is associated with coverage and awareness; frequency is associated with reinforcement, learning, and response. Excessive frequency may produce irritation or waste, whereas insufficient frequency may fail to establish memory.

1.3 Core planning calculations

The following relationships are useful for campaign-level planning. They are estimates and assume that the underlying audience data and definitions are consistent.

Gross rating points (GRPs) are the sum of rating points delivered by a schedule. Reach is expressed as a percentage of the target universe, and average frequency is the average number of exposures among those reached. GRPs count total exposure opportunities and therefore include duplication.

This relationship applies when reach and GRPs refer to the same target audience, period, and unit of measurement.

CPM means cost per thousand impressions. Media cost and impressions must refer to the same currency, period, audience, and exposure definition. CPM does not measure attention, persuasion, or quality of exposure.

Cost per rating point (CPP) is meaningful only when rating points refer to a clearly defined target audience and comparable market. It is frequently used in television and radio negotiations.

Worked example. A television schedule costs $120,000 and delivers 240 target rating points. Its CPP is:

If the schedule reaches 60% of the target audience, its average frequency is:

If the target universe contains 2,000,000 people, estimated impressions are 480,000,000 exposure opportunities, because 240 rating points represent 240% of the universe. The calculation does not imply that 480 million different people saw the advertisement; repeated exposure is included.

1.4 Effective reach and quality of exposure

Planners sometimes specify an effective-frequency threshold, such as at least three exposures, and evaluate the percentage of the audience reaching that threshold. This is more informative than average frequency alone, but it requires a frequency-distribution model or reliable respondent-level data. Average frequency cannot reveal whether most people received one exposure while a small group received many.

Quality considerations include attention, involvement, editorial credibility, sound and visual capacity, clutter, context, prominence, ad avoidance, and creative fit. A low CPM placement may be inefficient if the audience is poorly matched or if attention is negligible.

2. Television

Television combines moving images, sound, narrative, demonstration, emotion, and social visibility. It may be delivered through broadcast, cable, satellite, connected television, or addressable television systems. In media-planning terms, the technology matters because audience measurement, inventory, targeting, and buying conventions differ across delivery systems.

Audience and geography

Television can deliver national scale rapidly, but local stations, regional feeds, and addressable systems permit geographic variation. Audience composition differs by programme genre, daypart, channel, platform, and market. Planners should examine target rating points rather than relying only on total audience size.

Formats and creative requirements

Common formats include 5-, 10-, 15-, 30-, and 60-second spots; sponsorships; programme integrations; product placement; branded content; and longer-form direct-response units. Creative production generally requires scripting, casting, filming or animation, editing, music, voice-over, legal clearance, and versioning. Television is especially effective when a product requires visual demonstration or when emotional storytelling is central.

Scheduling and buying conventions

Dayparts commonly include early morning, daytime, early fringe, prime time, late fringe, and overnight, although definitions vary by market. Buying may be negotiated by spot, programme, package, rating point, audience guarantee, or impression. A spot buy purchases specific commercial positions. A package buy purchases a combination of programmes or dayparts. A scatter market involves buying closer to transmission, while an upfront market involves advance commitments, often with negotiated volume and audience guarantees.

Television inventory may be priced according to audience demand, programme environment, season, event status, target composition, length, position, and availability. Commercial break position can affect visibility, but position premiums are not always justified if the programme context or audience fit is weak.

Strengths and limitations

Strengths include scale, audiovisual demonstration, emotional impact, shared cultural experiences, and rapid awareness building. Limitations include high production costs, high absolute media costs, clutter, declining attention, fragmented viewing, audience duplication, ad avoidance, and uncertain linear-television measurement. Television can also produce impressive GRPs without adequate reach among a narrowly defined niche.

3. Radio

Radio is an audio medium characterized by mobility, local relevance, daypart flexibility, and relatively low production cost. It includes terrestrial broadcast, digital radio, and streamed audio; however, buying rules and measurement differ between these forms.

Audience, format, and geography

Radio audiences vary by station format, such as news, talk, contemporary music, classic music, sports, or specialist programming. Station selection should consider target composition, not merely total listenership. Radio is particularly useful for local and regional campaigns, retail promotion, traffic-related messaging, and frequency building.

Typical units are 10-, 15-, 30-, and 60-second spots, live reads, presenter endorsements, sponsorships, traffic or weather integrations, and branded segments. Audio creative depends on voice, music, sound effects, mnemonic devices, and repetition. Because radio lacks visual demonstration, the message should be simple, distinctive, and easy to imagine. A clear brand name and call to action are essential.

Scheduling and buying

Buying may be based on spots, estimated audience, rating points, dayparts, station packages, or share of voice. Dayparts often include breakfast, daytime, drive time, evening, and overnight. Drive-time inventory may be expensive because commuting audiences are attractive to many advertisers. Frequency can be achieved economically, but reach may be constrained by station loyalty and fragmented listening.

Strengths and limitations

Radio offers immediacy, local targeting, flexibility, low production expense, and efficient repetition. It can support television, retail, and OOH campaigns by reinforcing slogans and offers. Its limitations include audio-only communication, lower attentive exposure in some contexts, audience fragmentation, background listening, and difficulty demonstrating complex products. Measurement may rely on diaries, recall, electronic measurement, or streaming logs, each with different biases.

4. Newspapers and Magazines

Print media provide a physical or digital editorial environment in which advertising can be examined at the reader's pace. Newspapers traditionally offer timeliness, local coverage, public-affairs credibility, classified and retail utility, and high geographic specificity. Magazines generally offer stronger specialization, longer issue lives, visual quality, and audience affinity.

Formats and creative requirements

Newspaper formats include classified advertisements, display advertisements, inserts, wraps, advertorials, gatefolds, and modular units. Magazine formats include full-page, half-page, double-page spread, cover positions, inserts, belly bands, and special editions. Print permits detailed copy, comparison information, coupons, specifications, and visual design. It is suitable for products requiring explanation or considered evaluation.

Production must account for dimensions, bleed, color profile, resolution, paper stock, binding, deadlines, proofing, and legal disclosures. A creative execution should be legible in the actual reading environment. Dense copy can be appropriate for an involved audience but should be organized with hierarchy, headings, captions, and a clear response mechanism.

Audience and geography

Newspapers may be national, regional, metropolitan, community-based, or language-specific. Magazines may be general-interest, professional, lifestyle, enthusiast, or customer publications. Circulation is the number of copies distributed or sold; readership is the estimated number of people who read or look at an issue. These measures are not equivalent. Pass-along readership can increase audience beyond paid circulation but may complicate frequency estimation.

Scheduling, costs, and buying conventions

Print is often bought by insertion date, issue, size, position, section, edition, color specification, and negotiated frequency. Magazine bookings may occur weeks or months before publication. Rate cards list prices, but agencies may negotiate volume discounts, multi-insertion rates, added-value units, and preferred positions. Cost comparisons should use comparable audience definitions and distinguish circulation from readership.

Strengths and limitations

Print provides permanence, information density, audience selectivity, editorial context, and opportunities for coupons or response devices. Magazines can offer prestige and high-quality reproduction. Limitations include declining print circulation in some markets, long lead times, limited motion and sound, variable pass-along behavior, clutter, and uncertainty about actual attention. Print is often more effective when used for depth, credibility, or targeted reinforcement than when used alone for rapid mass awareness.

5. Cinema Advertising

Cinema advertising places commercial messages in a controlled audiovisual environment before a film. It combines a large screen, high-quality sound, low competing media clutter, and an audience that has deliberately entered an entertainment setting.

Audience and formats

Cinema audiences can be selected by location, film title, genre, show time, theatre chain, and audience profile. Formats include pre-show spots, trailers, on-screen slides, lobby displays, sampling, ticket or concession partnerships, and experiential activations. Cinema is useful for products connected to entertainment, youth culture, food, beverages, automobiles, fashion, and local retail.

Scheduling and buying

Buying may be based on screens, admissions, showings, weeks, theatre complexes, geographic clusters, or estimated impressions. Premium films and opening weekends may command higher prices. The planner should distinguish admissions from impressions: one admission may not equal one guaranteed attentive viewer, and repeat attendance may create additional exposure.

Creative requirements, strengths, and limitations

Cinema permits high production quality, immersive sound, visual scale, and longer narrative formats. Creative should be legible and audible in a dark, attentive environment, but it should not assume that viewers remember a complex URL or lengthy offer. Strengths include attention, impact, contextual association, and reduced clutter. Limitations include limited frequency, geographic concentration, dependence on film schedules, audience forecasting challenges, and potentially high production standards.

6. Out-of-Home Media

OOH reaches audiences while they are outside the home, including pedestrians, drivers, passengers, shoppers, and visitors. It includes roadside billboards, transit shelters, buses, rail and airport media, street furniture, retail displays, digital OOH screens, place-based media, and spectacular installations.

Audience and geography

OOH is fundamentally location-based. Its value depends on the movement patterns, dwell time, visibility, speed, sightlines, surrounding land use, and demographic composition of people passing a location. It can target a city, corridor, neighborhood, transit route, shopping district, airport, university, or event venue.

Formats and creative requirements

Formats range from small posters and transit panels to large bulletins, wallscapes, station dominations, kiosks, street furniture, vehicle wraps, and digital screens. OOH creative must be recognized quickly. It normally requires a dominant visual, few words, strong contrast, clear branding, and a simple call to action. Copy length should reflect travel speed and viewing time. Digital OOH permits dayparting, sequential messages, weather triggers, live data, and dynamic creative, but these capabilities do not remove the need for immediate comprehension.

Scheduling and buying conventions

Traditional OOH is often sold by a posting period, commonly one or several weeks, with a specified number and type of panels. Packages may be described by market coverage, share of space, or estimated exposure. Digital OOH may be bought by loop position, play count, share of voice, time block, or impression estimate. Production, installation, illumination, proof-of-performance, and removal may be charged separately.

Strengths and limitations

OOH offers unavoidable physical presence, geographic precision, repeated exposure along routines, broad reach, and strong support for retail or location-based action. It is less vulnerable to ad skipping than many screen media. Limitations include short exposure duration, limited copy, weather and visibility effects, clutter, safety restrictions, and imprecise individual-level attribution. OOH should not be evaluated solely through the number of panels; visibility and audience movement are central.

7. Comparative Media Evaluation

The table is a starting point, not a substitute for audience research. A graduate planner should ask: Is the target actually present? Is the environment compatible with the brand? Can the creative exploit the medium? Is the schedule capable of delivering the required reach and frequency? Are costs comparable after production, agency fees, taxes, and verification? What is the likely quality of attention?

8. Scheduling Strategies

A continuous schedule maintains relatively stable presence throughout the campaign period. It is useful for frequently purchased products and always-on availability. A flighting schedule alternates periods of advertising and no advertising, helping concentrate budget around launches, seasons, or inventory availability. A pulsing schedule maintains a base level while increasing weight during important periods. A burst or heavy-up concentrates advertising in a short period to create rapid awareness.

Scheduling should reflect purchase cycles, seasonality, competitive activity, distribution, event calendars, and the decay of advertising effects. A campaign may use television for launch reach, radio for sustained frequency, print for explanation, and OOH near retail locations. Such integration should be planned around a common proposition and distinctive brand assets rather than merely repeating identical executions.

9. Budget Allocation and Negotiation

Media cost is only one component of the budget. A realistic estimate may include creative production, adaptation, trafficking or delivery, agency fees, research, measurement, taxes, installation, talent rights, music licensing, and contingency. Traditional media often involve negotiated rates; therefore, the rate-card price is not necessarily the final price.

Negotiation should consider total value rather than nominal discount. Relevant terms include audience guarantees, make-goods for underdelivery, cancellation rights, added-value inventory, premium positions, exclusivity, production support, payment timing, and proof-of-performance. A cheap unit in an unsuitable environment is not an efficient purchase.

A media proposal should document assumptions: target universe, measurement source, currency, dates, gross or net cost, agency commission treatment, estimated impressions, rating definitions, frequency, and exclusions. Without such documentation, apparent CPM or CPP differences may be misleading.

10. Measurement, Governance, and Ethics

Traditional media measurement faces methodological difficulties. Ratings may be based on panels, modeled estimates, diaries, set-top boxes, audio meters, circulation audits, traffic counts, mobility data, or vendor models. Each source defines exposure differently. A billboard “opportunity to see” is not equivalent to a confirmed attentive view; circulation is not equivalent to readership; and programme rating is not equivalent to advertisement attention.

Planners should seek independent verification where possible and report uncertainty honestly. Post-campaign analysis should compare booked versus delivered audience, reach, frequency, cost, placement quality, make-goods, and brand outcomes. Attribution is difficult because traditional media are often used simultaneously with search, social, retail, promotions, and public relations.

Ethical and regulatory responsibilities include truthful claims, substantiation, protection of children and vulnerable groups, appropriate separation of advertising and editorial content, disclosure of sponsorship or native formats, avoidance of discriminatory targeting, respect for privacy, and compliance with alcohol, tobacco, pharmaceutical, political, and financial advertising rules. OOH placement must also consider public safety, traffic visibility, community standards, and environmental effects.

11. Technology and Contemporary Developments

Technology is reshaping traditional media without eliminating their underlying strategic roles. Connected television and addressable television can provide household-level targeting, frequency management, and impression-based buying. Digital radio and streaming audio offer more flexible targeting and logging than some legacy broadcast systems. Digital OOH enables dynamic creative, remote scheduling, and contextual triggers. Automated buying can improve workflow, but it does not guarantee valid measurement or brand suitability.

Artificial intelligence may support audience forecasting, schedule optimization, copy versioning, and anomaly detection. However, AI outputs depend on data quality and model assumptions. Planners must check representativeness, privacy compliance, explainability, bias, rights to use creative assets, and the risk of optimizing toward cheap impressions rather than meaningful business outcomes. Human judgment remains necessary for context, negotiation, ethics, and strategic coherence.

12. Applied Case: The Regional Launch of Northstar Cold Brew

This is an illustrative fictional case.

Background

Northstar is a premium cold-brew coffee brand launching in three metropolitan areas. It targets adults aged 25–44 who purchase ready-to-drink beverages and commute or work in hybrid settings. The brand has strong packaging but low awareness and limited distribution during the first eight weeks.

Problem

The launch budget is insufficient for a national television campaign. Management wants rapid awareness, traffic to selected retailers, and a premium image. The campaign must reach the target repeatedly without wasting budget on markets where the product is unavailable.

Analysis

Television could provide fast reach but would create waste outside the three launch areas and require expensive production. Radio offers commuting frequency and local flexibility. OOH can reach people near transit corridors and retailers. Magazines could provide premium context but would have slower timing and less precise geographic control. Cinema could add impact but would probably be a supporting rather than primary medium.

Approach

The planner recommends a pulsing schedule:

• OOH: a high-visibility four-week presence near transit routes, gyms, offices, and participating retailers.
• Radio: breakfast and afternoon drive spots, with presenter reads during the first two weeks and sustained spots thereafter.
• Television or connected television: a limited, geographically bounded launch burst using a 15-second product demonstration.
• Local print: a small number of weekend retail and lifestyle insertions carrying a store locator and introductory offer.
• Cinema: selective placements around films whose audiences match the target, used to reinforce premium positioning.

The creative system uses one proposition—“cold-brew energy, ready when your day moves”—but adapts execution to each medium. OOH uses the pack, proposition, and retailer cue; radio uses a distinctive sonic mnemonic; television demonstrates the product and consumption occasion; print provides detail and the offer.

Outcome and evaluation

The team evaluates delivery through verified OOH postings, radio audience reports, television target ratings, print circulation and readership data, and cinema admissions. Brand tracking measures aided awareness, consideration, and purchase intent in launch versus comparison markets. Retail data examines distribution-weighted sales and offer redemption. The plan is not judged by CPM alone: the decisive questions are whether the campaign reached available buyers, generated adequate repetition, and supported measurable retail action.

Learning points

The case illustrates four principles. First, geography should follow distribution, not merely population size. Second, media roles should be complementary rather than identical. Third, creative must be designed for each medium's attention conditions. Fourth, evaluation must combine delivery metrics with brand and sales indicators while acknowledging attribution limitations.

Best-Practice Checklist

1. Define the target universe and measurement source before comparing costs.
2. Match media geography to distribution, service availability, and customer movement.
3. Distinguish reach, frequency, impressions, ratings, and attentive exposure.
4. Use CPM and CPP as efficiency indicators, not complete measures of value.
5. Budget for production, rights, installation, research, and verification.
6. Negotiate delivery guarantees and make-goods, not only rate discounts.
7. Adapt creative to the medium's sensory and time constraints.
8. Examine audience quality, context, clutter, and brand safety.
9. Document assumptions and reconcile booked with delivered activity.
10. Integrate traditional media around a consistent proposition and distinctive brand assets.

Chapter Summary

Traditional media planning is the strategic management of audience exposure across television, radio, newspapers, magazines, cinema, and OOH. Effective planning begins with a measurable communication objective and a clearly defined target universe. Reach describes the proportion of different people exposed, frequency describes average repetition among those reached, and GRPs summarize total rating-point delivery while including duplication. CPM and CPP support cost comparison but cannot capture attention, context, or persuasion.

Television is powerful for scale, demonstration, and emotion; radio for local reach and frequency; newspapers for timeliness and detail; magazines for specialist audiences and prestige; cinema for immersion; and OOH for physical visibility and location-based repetition. Each medium has distinctive formats, creative requirements, scheduling practices, and buying conventions. Graduate-level decision making requires integrating these characteristics with distribution, purchase behavior, budget, regulation, measurement quality, and campaign objectives.

Contemporary developments such as connected television, digital audio, digital OOH, automated buying, and AI-assisted planning increase flexibility but also create concerns about privacy, bias, transparency, and measurement validity. The central managerial principle remains unchanged: select and combine media according to the communication job they can perform, not according to popularity or apparent cheapness.

Key Terms

Audience: People exposed or potentially exposed to a media vehicle.

Audience duplication: Overlap between audiences exposed through different vehicles or occasions.

Buying unit: The specific item purchased, such as a spot, page, panel, or posting period.

CPM: Cost per thousand impressions.

CPP: Cost per rating point.

Daypart: A defined time period used for media scheduling.

Exposure: An opportunity for an individual to encounter a message.

Flighting: Alternating periods of advertising activity and inactivity.

Frequency: Average number of exposures among reached individuals.

Gross rating points: The sum of rating points delivered by a schedule.

Impression: One exposure opportunity, counted whether or not it produces attention.

Make-good: Replacement inventory supplied when contracted delivery is not achieved.

Media class: A broad medium category such as television or radio.

Media vehicle: A specific outlet within a media class.

Out-of-home media: Advertising encountered outside the home, including billboards and transit media.

Reach: The percentage or number of different target individuals exposed at least once.

Rating: The percentage of a defined universe represented by an audience.

Scatter market: Media inventory purchased relatively close to the transmission or publication date.

Upfront market: Advance purchasing of media inventory, often involving commitments and negotiated guarantees.

Review Questions

Short Answer Questions

1. Distinguish a media class, media vehicle, media unit, and placement.
2. Why are reach and frequency both necessary in campaign evaluation?
3. Identify two creative requirements specific to radio advertising.
4. What is a make-good, and why might it be included in a media contract?
5. State two limitations of using CPM as the sole basis for media selection.

Long Answer Questions

1. Compare television and radio in terms of audience, scheduling, buying conventions, creative requirements, strengths, and limitations.
2. Explain how newspapers and magazines differ as planning options for a premium product launch.
3. Discuss the strategic role of OOH media in an integrated campaign, including geography, format, scheduling, and measurement.
4. Explain how a planner should combine reach, frequency, GRPs, CPM, and CPP when evaluating a schedule.
5. Evaluate the ethical and methodological challenges involved in measuring traditional media exposure.

Analytical / Application Questions

1. A regional retailer has stores in only two cities and a modest launch budget. Design a traditional-media mix and justify the role, schedule, and creative treatment of each selected medium.
2. A television schedule costs $180,000 and delivers 300 target rating points with a target reach of 75%. Calculate CPP and average frequency, state the assumptions, and interpret the results.
3. A brand receives a low CPM proposal for a national billboard network but most of its distribution is concentrated in five metropolitan areas. Analyze whether the proposal should be accepted and specify the additional evidence required before buying.

Multiple Choice Questions with Answers

Question 1

Which measure represents the average number of exposures among individuals who were reached?

A. Reach

B. Frequency

C. Circulation

D. Universe

Correct Answer: B. Frequency

Question 2

A schedule delivers 240 GRPs and reaches 60% of the target audience. What is its average frequency?

A. 2 exposures

B. 3 exposures

C. 4 exposures

D. 6 exposures

Correct Answer: C. 4 exposures

Question 3

Which traditional medium is generally strongest for rapid audiovisual demonstration at large scale?

A. Television

B. Newspaper classified advertising

C. Radio

D. Transit shelter poster

Correct Answer: A. Television

Question 4

Which creative approach is most appropriate for a typical OOH execution?

A. A long technical article

B. A dominant visual, few words, and clear branding

C. A complex multi-step argument

D. A detailed audio-only demonstration

Correct Answer: B. A dominant visual, few words, and clear branding

Question 5

What does CPP measure?

A. Cost per publication

B. Cost per panel

C. Cost per thousand impressions

D. Cost per rating point

Correct Answer: D. Cost per rating point

Question 6

Which buying arrangement involves advance commitments to media inventory?

A. Scatter market

B. Upfront market

C. Remnant-only market

D. Post-campaign market

Correct Answer: B. Upfront market

Question 7

Which medium is particularly associated with specialist audience affinity and high-quality reproduction?

A. Magazine

B. Radio

C. Roadside billboard

D. Cinema lobby slide

Correct Answer: A. Magazine

Question 8

A campaign costs $120,000 and delivers 240 rating points. What is its CPP?

A. $50

B. $240

C. $500

D. $2,000

Correct Answer: C. $500

Question 9

Which statement about GRPs is correct?

A. They count only unique people reached

B. They exclude repeated exposure

C. They summarize rating-point delivery and include duplication

D. They measure advertising attention directly

Correct Answer: C. They summarize rating-point delivery and include duplication

Question 10

Which factor is most central to evaluating an OOH location?

A. The advertiser's office size

B. Sightlines and audience movement patterns

C. The number of words in the brand manifesto

D. The magazine's print deadline

Correct Answer: B. Sightlines and audience movement patterns