DIZITTAL ADVERTISEMENT & MEDIA COMPANY
Buyer planning worksheet - not a quotation, availability statement or booking
Phone: +91 90347 54072 | Email: hello@dizittal.in

CAMPAIGN DETAILS
Brand:
Objective:
Audience:
City / catchment:
Dates:
Budget range:
Creative readiness:
Contact:

LIFT ADVERTISING
A poster in a lift, a door wrap and a timed screen slot are different purchases. Compare them by the actual position and agreed quantity, not a single headline society count.
- Placement register: Society, tower, lift and exact inside/outside position. Ask for a current location list with a version date.
- Format and dimensions: Separate poster frames, lift-door vinyl and digital screens. Confirm usable artwork size after a site check.
- Quantity and period: Record faces or doors for static media; for screens record slot, loop, operating hours and contracted period.
- Creative and installation: Identify artwork adaptations, printing/material, installation, access windows and removal responsibility.
- Maintenance and changes: Agree inspection frequency, damaged-media replacement, downtime treatment and any substitution approval.
- Delivery record: Match dated placement photographs to the register. Screen logs are an additional operator-dependent deliverable, not a substitute for the location list.

CINEMA ADVERTISING
Separate the media booking from the film or slide production. A cinema property, an auditorium, a scheduled show and an occupied seat are not the same unit.
- Cinema selection: City, named property and included screens; identify multiplex versus single-screen scope and any exclusions.
- Schedule and placement: Campaign dates, ad duration, agreed pre-show/interval terms and the basis of the booking. Confirm film-specific promises in writing, if available.
- Master and approvals: Obtain the receiving operator's current resolution, aspect ratio, audio, file/package and content/certification requirements before production.
- Changes and handover: Set artwork/film deadlines, version approval, trafficking responsibility and the process for creative replacement.
- Commercial scope: Show media, adaptation or film production, any conversion/approval charges and applicable taxes separately.
- Reporting and shortfall: Agree operator-supplied campaign or playback reports, exceptions and make-good conditions. Audience/occupancy evidence needs its own source.

OUTDOOR, HOARDINGS & UNIPOLES
A site is more than a pin on a map. Its facing direction, sightline, lighting and usable display area determine what the advertiser is actually buying.
- Site and face: Unique site/face ID, address or coordinates, road approach, viewing direction and current photographs.
- Display condition: Usable width/height, material, illumination and lighting hours where relevant; inspect obstructions and competing visual clutter.
- Period and authority: Date-wise availability, supplier authority and required approvals. Owner permission and other required permissions are separate checks.
- Production scope: Artwork adaptation, printing, transport, mounting, structure-related scope and removal; specify what is excluded.
- Maintenance and remedies: Damage inspections, light failures, replacement time, blocked visibility and approved alternatives if the site becomes unavailable.
- Evidence: Installation and close-out photographs tied to the face ID. Traffic or audience estimates require a named methodology and date.

DIGITAL SCREENS & DOOH
Screen ownership, advertising inventory and programmatic buying are different capabilities. Start with the screen and schedule that will appear in the proposal.
- Venue and screen: Named environment, screen ID, indoor/outdoor position and operating area. Distinguish residential, retail, workplace and roadside screens.
- Slot and rotation: Creative duration, loop or share-of-time arrangement, operating hours, campaign period and delivery basis.
- Creative specification: Orientation, native dimensions, safe areas, file/video requirements and audio policy supplied by the operator.
- Trafficking and changes: Approval, upload deadlines, version naming, time scheduling where supported and change limits.
- Buying method: Direct reserved inventory or an explicitly confirmed programmatic arrangement. Targeting features depend on the actual supplier and technology.
- Delivery evidence: Available playout records, outage definitions, exception reporting and make-goods. State separately whether any audience estimation is included.

BUS & TRANSIT ADVERTISING
Vehicle branding and terminal advertising reach people in different settings. A vehicle wrap should be scoped against identifiable vehicles and their operating areas.
- Fleet and operation: Vehicle list or agreed allocation rule, operator, routes/operating areas and expected operating days.
- Branding format: Side, rear, interior or another approved position. Capture measurements and safety/visibility restrictions before design.
- Access and installation: Depots, installation windows, vehicle downtime, approved materials and creative sign-off.
- Campaign period: Installation schedule, start/end treatment, maintenance and how unavailable vehicles are handled.
- Replacement and removal: Replacement vehicle rules, damage reporting, removal and restoration responsibility.
- Reporting: Identifiable vehicle photographs and agreed checks. GPS or route logs are included only where access and scope are confirmed.

RETAIL STORE AUDIO ADVERTISING
Buying an advertising spot inside stores is different from commissioning a retailer's own music and announcement system. Start by selecting the correct scope.
- Store shortlist: Retailer/outlet category, city and actual included stores; confirm permission to sell advertising inventory.
- Spot and language: Script, duration, language, pronunciation, voice and music usage rights.
- Schedule: Campaign dates, operating hours, planned frequency and any priority announcements or blackout periods.
- Creative handover: Script approval, audio specification, loudness/format requirements from the receiving system and version changes.
- System versus advertising: Quote spot buying separately from device, music curation, content management or installation services, where requested.
- Reporting: Available insertion or playout evidence, outlet outages and replacement scope. Listener estimates require additional evidence.

ON-GROUND BRAND ACTIVATIONS
A venue booking, a branded kiosk and a staffed customer interaction are separate deliverables. Define the interaction first, then price the infrastructure.
- Objective and audience: Trial, demonstration, enquiry or engagement; define who the activity is intended for and the response route.
- Venue and timing: Named venue, footprint, dates/hours, entry approvals, power, water, storage and load-in/load-out conditions.
- Mechanism and crew: Demo or sampling flow, promoter duties, briefing, language, supervision and materials.
- Product and logistics: Stock ownership, transport, replenishment, hygiene/safety requirements and unused-stock return.
- Lead handling: Opt-in collection, minimum required fields, handover recipient, access controls and retention instructions.
- Reporting: Setup photographs, activity/shift records, sample reconciliation and consented leads. Count each metric separately.

RETAIL & POINT-OF-SALE BRANDING
Outlet branding is a design-and-production rollout, not just an advertising rental. Separate a fascia or display installation from permission to promote in somebody else's store.
- Outlet register: Outlet ID, location, contact, owner approval, site photos, access and recce status.
- Measured scope: Fascia, window, shelf, counter, hanging element or freestanding display; usable dimensions and fixing restrictions.
- Material and prototype: Bill of quantities, substrate, print/finish, illumination if any, fixing method and sample approval.
- Production and logistics: Artwork versions, production batches, packaging, dispatch and installation schedule.
- Acceptance and maintenance: Brand check, finish/fit inspection, snag list, repair or replacement and removal responsibilities.
- Closure pack: Outlet-wise before/after records, approved quantities, installation acknowledgements and unresolved exceptions.

WALL PAINTING & LOCAL VISIBILITY
Painted walls, printed wall wraps and shop shutters use different materials and preparation. A route plan also needs actual approved surfaces, not only a target square-foot total.
- Location and permission: Surface ID, village/town/road, owner authority and other required permission checks.
- Surface condition: Measured usable area, plaster/substrate condition, preparation, moisture and obstructions.
- Execution format: Hand painting versus printed wrap, paint/material specification, number of colours and approved local-language copy.
- Route and rollout: Cluster/route, local market context, access, weather-related constraints and completion sequence.
- Tenure and restoration: Display period, repaint/repair obligations, third-party overwriting and removal/restoration responsibilities.
- Proof and quantity: Surface-wise dimensions and dated photographs, reconciled against the approved location schedule.

RESIDENTIAL SOCIETY ADVERTISING
Community media can build a presence over time; a sampling day creates a different type of interaction. Keep the two schedules and their permissions clear.
- Community shortlist: Society names, target catchment, approved areas and a dated source for any occupancy information.
- Touchpoint selection: Lift, lobby, noticeboard or permitted common area; check suitability and the actual placement rights.
- Persistent versus event: Period for installed media, or date/time/footprint for an activation. Quote them as separate components.
- Approvals and resident access: Management permission, vendor/crew entry, resident communication rules and any required public-facing advertising approvals.
- Response design: Campaign-specific enquiry route, appointment/demo booking or opt-in interest collection.
- Evidence: Placement register for media; activity records and consented enquiries for events. Third-party app delivery requires its own contracted report.

MEDIA PLANNING & BUYING
An integrated plan should make each medium's role visible. A longer list of placements is not automatically a better use of the budget.
- Commercial objective: Audience, geography, response goal, campaign window and budget boundaries.
- Role of each medium: State whether a placement builds awareness, reinforces recall, supports a visit or enables an interaction.
- Comparable inventory: Identify owned/managed versus sourced options, supplier, placement, quantity, unit, dates and validity.
- Commercial comparison: Separate media, production, installation, staffing/logistics, fees and applicable taxes; expose exclusions and changes.
- Approval and delivery: Written selection, creative and operator approvals, booking confirmation, execution and exception handling.
- Evaluation: Plan-versus-delivered evidence per medium, tracked enquiry sources where implemented and limitations of cross-media attribution.

AD FILMS & CREATIVE PRODUCTION
A live shoot, an animation and an adaptation of existing footage have different production paths. Decide the distribution channels before the master is produced.
- Creative brief: Objective, audience, key message, references, intended channels and agreed concept/treatment.
- Production method: Live-action, interview, product shoot, animation, motion graphics or mixed media; specify existing assets versus new production.
- Shoot or animation scope: Locations, cast/voice, crew, schedule, props, storyboard/animatic and client responsibilities.
- Deliverables: Master duration, language versions, captions, aspect-ratio adaptations, cutdowns and receiving-platform specifications.
- Rights and revisions: Usage rights for cast/music/voice/assets, source-file inclusion or exclusion, approvals and revision rounds.
- Handover: Approved masters, version naming, quality check and agreed supporting files. Media placement is a separate booking unless included in writing.