Media Design: Top 5 South African mag covers for 2018

by Shane de Lange (@shanenilfunct) In my final 2018 column, which comprised rants and raves related to trends from last year, mention was made of the low levels of quality crafting, high levels of poor taste (or, at best, poor form), and a lack of independent publishing in South Africa. As was the case last year, many aspects of South African society still require more sponsorship and support, with the overall goal being to produce culture, not consume it. Consistency and diversity of quality production are key here, and my Top 5 South African covers for 2018 takes the cultural baton from the sentiments listed in the final column of last year, all in support of those South Africans whom are actively producing culture.

  1. TIME and Time Out London brought SA into the limelight, thanks to the creative verve of Studio Muti
  2. ELLE South Africa was one of few commercial magazines in SA attempting to produce culture
  3. Chimurenga Chronic provided level of philosophical engagement, outside and ulterior to the influence of the Occident
  4. The Lake packaged lowbrow experimentalism and underground, street-level influences in a middle-ground, youth-culture publication that speaks to a broad audience
  5. Ambassadeur brought together various creative disciplines in a rare movement running counter to the barrage of anti-culture in the media today

Find a cover we should know about? Tweet us at @Marklives and @shanenilfunct.
Pinterest icon Want to view all the covers at a glance? See our Pinterest board!

#1. TIME (US), 3–10 September 2018, and Time Out London (UK), May 2018 — both covers by Studio Muti

TIME, 3-10 September 2018Time Out London, June 2018

Studio Muti consistently delivered world-class illustration, crafting visuals for a number of publications last year. Although the titles for which Muti was commissioned weren’t local publications per se, that they were representing SA on a truly international scale speaks volumes.

Of the two Muti-designed covers from last year, the TIME cover is perhaps the most prominent, as it was a commission from one of the most-established magazines in history, globally. It was also a special cover for Muti, as this was TIME’s inaugural annual “World’s Greatest Places” issue, meant to be an insider guide highlighting ‘new’ and contemporary global attractions and destinations. In all, there were 100 entries covering six continents and 48 countries. The only SA listing is Zeitz MOCAA, in Cape Town, which Muti convincingly portrayed, alongside other attractions, on the cover. A technical and creative feat, with its monoline illustration, animated typography, bold colour relations, dynamic grid usage, textured space, and stylised geometric visual language, this cover stands out as one of the best for 2018.

With illustration finesse that is equally as impressive as TIME’s cover, Time Out London’s follows the theme of rooftop experiences. The cover encourages people to be out and about in London, and to be on the search for “sky-high fun”. With what seems to be Muti’s MO, the use of isometric perspective and dynamic grids here avoids falling into the same clichéd trap that other similar studios tend to fall into. The open composition is layered, seamlessly integrating typography into the subject matter of the illustration, literally illustrating with type and allowing the copy to jump off the page and announce that this issue showcases the top spots in London.

Excellent form across the board, with both covers clearly communicating a concept and message in an engaging and entertaining manner.

 

#2. ELLE South Africa, March & May 2018

ELLE South Africa, March 2018: Nonku Phiri, Rochelle “Rharha” Nembhard, and Manthe RibaneELLE South Africa, May 2018 - Winnie Harlow

ELLE South Africa consistently delivered engaging covers with shelf appeal that few could rival; two in particular from last year come to mind.

In May, former runner-up to America’s Next Top Model, Winnie Harlow (Chantal Winnie), graced the cover. Her unique look challenges mainstream perspectives of beauty, especially in the fashion industry, raising awareness about her vitiligo skin condition.

The March cover challenged popular buzzwords such as Afrofuturism, Afrocentric, Afropop, and Afropunk — running counter to all the advertising jargon and corporatised pollution out there. Artfully photographed and supported by well-considered art direction, the cover depicts three of SA’s freshest creative voices, Nonku Phiri, Rochelle “Rharha” Nembhard, and Manthe Ribane. With each individual from the separate but symbiotic realms of art, music, and technology, these three are at the forefront of culture production in SA.

Note: In December 2018, it was announced that Ndalo Media — the publishers of ELLE SA, ELLE Decoration SA, Destiny and Destiny Man — would be shutting down at the end of January 2019, after running into financial difficulty.

 

#3. Chimurenga Chronic (South Africa/Zimbabwe), issue #13, April 2018

Chimurenga Chronic Broadsheet and Supplement, April 2018

Themed “The Invention of Zimbabwe”, this issue of Chimurenga Chronic fed off political events that occurred in Zimbabwe last year, particularly the perceived coup d’état that lead to the ousting of former president, Robert Mugabe. Attempting to move past ‘white anxiety’ and ‘Africa-South’ issues, this edition was published in two parts: a large-format broadsheet and a smaller supplementary magazine. Both focused on the music and literature that documented and, at the same time, revolted against oppression and conflict in Africa.

The cover to the broadsheet is a conceptual piece by SA-based Zimbabwean-born artist, Kudzanai Chiurai, a testament to the contemporary post-postcolonial spirit. The cover for the supplement, titled XIBAARU TEERE YI (“Chronic Books” in Wolof, a widespread language in Senegal), is an ode to the work of Senegalese historian, anthropologist, physicist, and politician, Cheikh Anta Diop, famous for his examination of the origins of humankind in context of African culture before the influence of colonialism. The cover of this supplement is a parody, a tribute to TAXAW (“standing” in Wolof), which was Diop’s retitled publication, succeeding the radical magazine, SIGGI (“raising one’s head and picking oneself up” in Wolof). The production of culture depends on this level of philosophical engagement, outside and ulterior to the influence of the Occident.

 

#4. The Lake (South Africa), issues #19 and #20, 2018

The Lake, issue 19, March 2018 - Angel-HoThe Lake, issue 20, June 2018

The Lake produced a few featured covers in 2018. For issue #19 in March, glamour was a noun and fashion a verb surrounding the theme “Spectacle”. Local experimental electronic music artist, Angel-Ho, adorned the cover, deconstructing notions of classism and gender politics within the context of queer identity. The cover was conceptualised and styled by Angel-Ho, with photography by Oliver Kruger. Through music and performance, Angelo-Ho presents queer identity from a fresh perspective, building a positive foundation for queer and trans youths in SA.

The June cover for issue #20 incites a state of post-postmodern hubris, presenting a colourful performance of fashion, photography and art. Juxtaposition, pastiche and appropriation work in overdrive with this cover, titled “Sad Rasta” (taken from a series titled “Avoirdupois — A System of Weights”), which was conceptualised, styled and art-directed by Inge Beckmann, and photographed by Travys Owen.

Albeit its efforts are gradual, the lowbrow experimentalism and underground, street level influences evident in The Lake, particularly on its covers, make it relevant as a middle-ground, youth-culture publication.

 

#5. Ambassadeur (South Africa), issue #2, 2018

Ambassadeur, issue 2, September 2018

Photographed by the magazine’s editor-in-chief, Derick Muller, model Pierre Rossouw appears on the cover of issue #2 of Ambassadeur — an independently produced journal focused on art, literature, fashion and travel. Published annually in English and Afrikaans, Ambassadeur aims to connect various seemingly disconnected creative spaces in SA.

The second edition of the magazine is retrospective of perspective, reflecting upon historical, traditional and orthodox creative tendencies. This issue features a collaboration with Gucci, inspired by “Sewe Dae by die Silbersteins” (Seven Days at the Silbersteins), a novel by SA writer, Etienne Leroux, first published in 1962. Various creative disciplines amalgamate here in a rare movement running counter to the barrage of anti-culture in the media today, notably keeping the language of Afrikaans contemporary and relevant.

Updated at 9.28am on 21 January 2019.

 

 

Shane de LangeShane de Lange (@shanenilfunct) is a designer, writer, and educator currently based in Cape Town, South Africa, working in the fields of communication design and digital media. He works from Gilgamesh, a small design studio. Connect with him on Pinterest and Instagram.

Media Design, formerly Cover Stories and MagLove, is a regular slot deconstructing media cover design, both past and present.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#BigQ2019: Adland undergoing massive change

by Shaune Jordaan. In many ways, South Africa is a very different place than it was a year ago; that’s as true for the advertising space as it is in the political arena. There’s a sense that things are happening, that change is in the air. But tempering any optimism is a lingering sense of uncertainty, brought on by the knowledge that any change will take time. This makes it difficult to be completely certain about what’ll happen in the broader marketing space in 2019. There are, however, a few emerging local and international trends that look set to have a big impact going forward.

Holding company consolidation

Over the last decade or so, advertising’s big holding companies — with WPP, Omnicom, and Publicis Groupe at the top of the pile — have undergone a period of rapid global expansion. Many South African agency founders, especially in the digital space, earned some pretty big paydays as a result of this expansion.

There are, however, signs that this expansion is slowing down and that the holding giants are about to enter a phase of consolidation, especially as big brands take a closer look at their marketing budgets, and the unlocked potential of data. WPP in particular looks to be taking a much more cautious approach in the wake of Sir Martin Sorrell’s departure.

Yes, there is data compliance to look at, but brands have been spam smsing and emailing us for yonks; it’s time to start using data and technology to talk to customers like real people online.

The rise of the media consultancy & media tech

Brands won’t be left to their own devices when it comes to investigating those budgets, either. A new wave of media consultancies is emerging, not only to help them figure out where their money’s going but how to spend it better, too. The founders of many of these consultancies are actually veterans of the advertising space who’ve grown frustrated with how murky media buying has become. Fuelled by a determination to give brands more control over their messaging, they are results-based and so don’t have to justify bulky retainers the way traditional agencies do.

Perhaps the clearest sign that they will play an influential role in the marketing space comes from the prospectus for Sorrell’s new company, S4 Capital. The document lists the venture’s primary competitors as “consultancy businesses with an emphasis on technological services in the digital marketing arena” such as IBM iX, Accenture Interactive, Deloitte Digital, and PwC.

Digital media is becoming specialist and it’s the large media business that’s struggling with the rise of machine-learning media technology, transparency and results-driven models.

No mention is made of the likes of Ogilvy, JWT, or Grey.

What’s clear is that Facebook and Google technologies are growing at such a rapid pace that South African media agencies at large DON’T know how to fully use this technology, and often outsource work to foreign entities. Opportunities exist for brands and agencies that fully embrace media tech and use it to its full potential, thus achieving optimal digital, what I like to call “people-based marketing”, that notion of talking to customers like real people like individuals.

Increased focus on brand safety

In the pre-digital era, very people would’ve noticed if a company’s ad appeared in a publication that didn’t fit with its values. But, today, brands can advertise on websites and other digital properties without even knowing about it. Sometimes this has massive consequences. The last thing any brand wants is for its creative to appear on a fake news site or the YouTube channel of a proud neo-Nazi.

Some industry players will tell you that programmatic advertising means it’s inevitable that these ads will end up in places they shouldn’t.

They’re wrong.

Brand safety only becomes an issue when programmatic advertising is implemented badly. Done well, it is safe and produces real results for brands.

As brands become more conscious of where their ads are seen, they’ll quickly gravitate to the outfits which can guarantee them safety or bring this expertise in-house.

The end of big retainers?

With technology enabling brands to take increased control of their marketing, the relationships they have with their advertising agencies are likely to change. Creative campaigns won’t disappear entirely but, as marketing moves from the masses to the individual, they’ll become less necessary.

And idea needs to be ground-moving; creating simple content that doesn’t fit the media space is over. We need dynamic content that is driven programmatically to real people. Creating content should be cheap, thus leaving more spend within the digital media space.

Performance media models will become the norm as we start moving into a space where media will lead creative agencies, a trend that is already starting to emerge within the global Publicis Groupe. As a result, creative agencies may well find themselves getting fewer retainers and more individual campaign-based work. The only survivors will be digital media specialists, because always-on will apply here.

Ford’s decision to fire WPP after 75 years, as it looks to cut down on a marketing budget worth around US$3bn and focus on digital, is a clear sign that this is the direction brands will increasingly go in.

All of these trends point to the fact that advertising is undergoing a massive change. Those who adapt will survive and may even thrive. Those who fail to see what’s going on around them may soon find themselves wondering where it all went wrong.

See also

 

MarkLives logo What are the industry expectations for the marketing and advertising industry in 2019? Kicking off our “Big Q” column for the year, a panel of key agency and marketing executives discusses the macro environment, budgets, changes in messaging, movement in the industry and any consumer and communication trends they’ll be looking out for in the year ahead.

Shaune Jordaan is the CEO of Hoorah Digital, an independent digital media consultancy that believes in data. He is a former Publicis Groupe exec, and founder of Saatchi & Saatchi Synergize.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#BigQ2019: Leveraging social listening & video content

by Ankush Manchanda. As we move forward, here are some of the trends and insights we marketers must continue to embrace to win in 2019.

Authentic co-creation, storytelling crucial to winning digital strategies

Consumers today are highly averse to forced messaging and are looking to engage with brands in an interactive and authentic manner. Our millennial and Gen Zs consumers share one common thread with brands: “self-expression”. Our consumers are on the hunt for purposeful goals, bespoke experiences and meaningful dialogues, and are looking for brands to inspire them with ‘relatable’ content and stories.

Successful brands today see content as more than part of an overall marketing strategy but as a tool that crafts cultures and builds communities. From tech to consumer and lifestyle giants, brands that truly connect with their consumers begin with understanding their cultural and environmental nuances to successfully tap into the beliefs that drive them. The ability to identify these shared values and capitalise on the right sentiment is what allows brand to play in the sweet spot where a brand’s point of view and crowd-culture collide.

Trendsetters such as Adidas, Airbnb, Uber, Apple, Starbucks, Coca-Cola and Oreo have created striking and longstanding relationships with their consumers through the route of “communities”. Moving from interruption to interaction, these brands have changed and challenged the global forms of traditional marketing — huge billboards and massive, elaborate TV campaigns which bear in mind a purpose. From co-creating with consumers to co-creating with creative minds in the digital realm, we’re nurturing stories beyond the limits of individual imagination.

Customer centricity is key: listening first, then speaking

Brands need to put their customers at the heart of everything they do and invest in creating sustainable platforms and experiences across brands that impact the consumer in a meaningful manner — by identifying and popularising new cultural trends that our consumers are already invested in. We believe we will see more and more brands following this trend in 2019 as the marketing conversation needs to move even further away from single-source communication and closer towards a two-way conversation between the brand and the consumer.

Social listening allows us to really understand consumer desire and also see trends that help adapt our future campaigns and initiatives and allows our consumers to have a seat at the table and a louder voice in the brand conversation than ever before.

Video content at forefront of driving engagement

Video continues to be the dominant medium in social media and for storytelling. Research has found that 90% of consumers say video can help them make buying decisions, and it’s been predicted by Cisco that, by 2020, online videos will make up more than 80% of all consumer internet traffic.

What is key to video is creating content that is entertaining, engaging and inspiring. Instagram, You Tube and Facebook continue to be the main platforms for content distribution, prioritising video content that’s driving both higher reach and engagement.

Micro-moments taking over consumer journeys

Audience members say they are 63% more likely to connect with brands when they feel high emotional intensity, according to a recent Live Nation study. It’s crucial to create real moments that touch a consumer’s life, but then to also be able to extend that experience through digital. As brands, we need to deliver to a clear purpose at every touchpoint and put our consumer at the heart of everything we do, ensuring that we offer something unique, useful, fun, or unexpected.

It is by creating these micro-moments of wonder, joy and excitement that brands can really connect with their audiences. Alcohol brands are making good use of experiential platforms such as music festivals to do this.

Consumers are multifaceted

Brands need to fully integrate into consumers’ lives and showcase their value through multiple passion points. Consumers aren’t one-dimensional and are excited by music, travel, food, film etc.

As brands, we need to ensure that we’re communicating through each in a relevant way. For example, work with content creators who’re experts in a variety of areas in order to bring brands alive within different markets; it enables brands to consistently enthuse and engage audiences in an impactful and refreshing way.

See also

 

MarkLives logo What are the industry expectations for the marketing and advertising industry in 2019? Kicking off our “Big Q” column for the year, a panel of key agency and marketing executives discusses the macro environment, budgets, changes in messaging, movement in the industry and any consumer and communication trends they’ll be looking out for in the year ahead.

Ankush Manchanda is the regional lead for digital and PR marketing communications for Bacardi’s portfolio of brands across the Asia, Middle East and Africa region. He also leads 1862, Bacardi’s Global Digital Centre of Excellence, delivering brand point of view via content and generating insights through digital behaviour.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

FastForward: The future of hope

by Marguerite Coetzee. Welcome to the Anthropocene — the human epoch. We are in an era of human-influenced disruption. Some argue (and have argued for some time now) that nature, the environment, and the earth’s processes are being impacted, shaped, altered and even destroyed by the human population.

Deep connection

Nomadic or hunter-gatherer communities the world over are known to have a deep connection with their environment. There is an overarching idea that nature reflects social tension, conflict and issue. Drought, fire, disease — all may be attributed to social ills playing out in nature. If a natural disaster occurs, the community turns their attention inwardly and reflects on what needs to be resolved, socially.

In stark contrast, urban societies (increasing in size owing to globalisation, urbanisation, and migration) have widened the gap between humanity and nature. People in these urban settings are more individualistic and development-driven (in terms of their own understanding of what progress, success or happiness looks like) than ever before.

Brands and businesses are responding to the Anthropocene in several ways, and two dominant responses are: business as usual —denying, dismissing or downplaying ideas of human impact on the environment — or considerate consumption — conscious efforts to make a bigger impact through reducing negative influence on the environment and encouraging consumers to do the same.

Marketer on Mars

We’ve seen people like Elon Musk lead the next space age by exploding the boundaries of what we thought possible. We’ve seen brands put the responsibility and hope of a better tomorrow into the hands of their consumers — to consume carefully, contribute considerably, and create compassionately.

Closer to home, we have Afro’s Chicken Shop on a journey to remove single-use plastic from its stores. This is driven by the idea that “we love this land and we want future generations to also be able to enjoy it as much as we do but we know that it starts with us”.

What’s next

Seeing the destruction, manipulation, and exploitation of the environment (natural resources, in particular) has raised questions around the sustainability or destruction of life on Earth. Oscar Wilde famously said that progress is the realisation of utopias — as it is a place that humanity constantly strives to find, and it’s this hope that keeps them going towards something better.

Brands have the opportunity and ability to expand consumers’ horizons and future possibilities, to fuel and fulfil their hopes for a better world.

Recommended reading

 

Marguerite de VilliersMarguerite Coetzee is an anthropologist at strategic marketing consultancy, Kantar Consulting. FastForward, the latest series in her regular column on MarkLives, takes an intellectual, scientific and artistic approach to the future – particularly the future of Africa.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Salary Survey 2019: Who earns what in adland & marketing in South Africa

by MarkLives (@marklives) Recruitment agency, Ad Talent, has released its 2019 salary survey for the communications industry. This annual survey is not intended to be prescriptive but is a report on what this specific recruiter has experienced over the course of the last year.

Ad Talent logo 2018It was compiled using:

  • figures of actual placements made by Ad Talent
  • figures from salary information obtained from all candidates interviewed by Ad Talent from January 2018 to December 2018
  • figures from salary information obtained from candidates who have submitted their CVs to Ad Talent
  • cost to company (CTC) figures, and
  • the average salaries per sector.

The survey notes that salaries vary significantly, depending on many factors, including size of the company, desirability to work for a particular company, and status. Salaries for media-sales roles vary significantly, depending on the commission structure / incentives. Years of experience references time spent in that particular position and NOT total working experience. This survey is not intended to be prescriptive. MarkLives reprints it with permission.

Advertising agencies

0–2 yrs (light)

2–5yrs (medium)

5–9 yrs (heavyweight)

Managing director
Johannesburg R90 000 – R100 000 R100 000 – R150 000 R150 000+
Cape Town R75 000 – R88 000 R88 000 – R130 000 R130 000+

Deputy MD
Johannesburg R85 000 – R94 000 R94 000 – R100 000 R100 000+
Cape Town R75 000 – R84 000 R84 000 – R93 000 R93 000+

Client service/business unit director
Johannesburg R55 000 – R59 000 R59 000 – R65 000 R65 000+
Cape Town R45 000 – R49 000 R49 000 – R57 000 R57 000+

Group account director
Johannesburg R48 000 – R53 000 R53 000 – R57 000 R57 000+
Cape Town R42 000 – R46 000 R46 000 – R55 000 R55 000+

Account director
Johannesburg R35 000 – R40 000 R40 000 – R48 000 N/A
Cape Town R32 000 – R40 000 R40 000 – R46 000 N/A

Account manager
Johannesburg R23 000 – R26 000 R26 000 – R35 000 N/A
Cape Town R17 000 – R22 000 R22 000 – R30 000 N/A

Account executive
Johannesburg R14 000 – R17 000 R17 000 – R20 000 N/A
Cape Town R11 000 – R13 000 R13 000 – R15 000 N/A

Project manager
Johannesburg R27 500 – R38 000 R38 000 – R45 000 R45 000+
Cape Town R24 000 – R32 000 R32 000 – R39 000 R39 000+

Operations
Johannesburg R48 000 – R58 000 R58 000 – R79 000 R79 000+
Cape Town R45 000 – R57 000 R57 000 – R66 000 R66 000+

Production
Johannesburg R12 000 – R20 000 R20 000 – R38 000 R38 000+
Cape Town R12 000 – R18 000 R18 000 – R31 000 R31 000+

Traffic
Johannesburg R12 000 – R18 000 R18 000 – R35 000 R35 000+
Cape Town R13 000 – R17 000 R17 000 – R30 000 R30 000+

Strategic planning director
Johannesburg R61 000 – R70 000 R70 000 – R89 000 R89 000+
Cape Town R55 000 – R68 000 R68 000 – R85 000 R85 000+

Strategic planner
Johannesburg R17 000 – R29 000 R29 000 – R47 000 R47 000+
Cape Town R15 000 – R24 000 R24 000 – R40 000 R40 000+

Digital

0–2 yrs (light)

2–5yrs (medium)

5–9 yrs (heavyweight)

Strategist
Johannesburg R18 000 – R32 000 R32 000 – R49 000 R49 000+
Cape Town R18 000 – R30 000 R30 000 – R50 000 R50 000+

Project manager
Johannesburg R25 000 – R38 000 R38 000 – R44 000 R44 000+
Cape Town R23 000 – R32 000 R32 000 – R39 000 R39 000+

Social media manager
Johannesburg R19 000 – R26 000 R26 000 – R40 000 R40 000+
Cape Town R16 500 – R20 000 R20 000 – R29 000 R29 000+

Social media and analytics specialist
Johannesburg R22 000 – R31 000 R31 000 – R48 000 R48 000+
Cape Town R18 500 – R28 000 R28 000 – R42 000 R42 000+

Community manager
Johannesburg R14 000 – R20 000 R20 000 – R35 000 N/A
Cape Town R14 000 – R18 000 R18 000 – R28 000 N/A

Content manager
Johannesburg R14 000 – R20 000 R20 000 – R30 000 R30 000+
Cape Town R13 000 – R17 000 R17 000 – R28 000 R28 000+

Account executive
Johannesburg R15 000 – R18 000 R18 000 – R22 000 N/A
Cape Town R12 500 – R15 000 R15 000 – R19 000 N/A

Account manager
Johannesburg R25 500 – R29 000 R29 000 – R38 000 N/A
Cape Town R18 000 – R25 000 R25 000 – R31 000 N/A

Account director
Johannesburg R38 000 – R45 000 R45 000 – R50 000 N/A
Cape Town R34 000 – R42 000 R42 000 – R48 000 N/A

Group account director
Johannesburg R48 000 – R54 000 R54 000 – R58 000 R58 000+
Cape Town R44 000 – R52 000 R52 000 – R56 000 R56 000+

Client service/business unit director
Johannesburg R56 000 – R60 000 R60 000 – R67 000 R67 000+
Cape Town R47 500 – R50 000 R50 000 – R58 000 R58 000+

SEO specialist
Johannesburg R14 000 – R20 000 R20 000 – R30 000 R30 000+
Cape Town R14 000 – R18 000 R18 000 – R30 000 R30 000+

PPC specialist
Johannesburg R15 000 – R21 000 R21 000 – R30 000 R30 000+
Cape Town R15 000 – R20 000 R20 000 – R30 000 R30 000+

Analyst
Johannesburg R17 000 – R22 000 R22 000 – R30 000 R30 000+
Cape Town R18 000 – R20 000 R20 000 – R28 000 R28 000+

Creative: Traditional

Small studio 0–2 yrs

Med–large agency (2–5yrs)

Med–large agency (5 yrs+)

Chief creative officer
Johannesburg N/A N/A R130 000+
Cape Town N/A N/A R120 000+

Group/executive creative director
Johannesburg N/A N/A R110 000+
Cape Town N/A N/A R92 000+

Creative director
Johannesburg R48 000 – R65 000 R65 000 – R75 000 R75 000+
Cape Town R40 000 – R48 000 R48 000 – R62 000 R62 000+

Head of design
Johannesburg R37 000 – R50 000 R50 000 – R55 000 R55 000+
Cape Town R30 000 – R35 000 R35 000 – R45 000 R45 000+

Designer
Johannesburg R10 000 – R17 000 R17 000 – R32 000 R32 000+
Cape Town R10 000 – R15 000 R15 000 – R27 000 R27 000+

Creative group head
Johannesburg R35 000 – R45 000 R45 000 – R53 000 R53 000+
Cape Town R27 000 – R35 000 R35 000 – R45 000 R45 000+

Art director
Johannesburg R11 000 – R18 000 R18 000 – R36 000 R36 000 – R55 000
Cape Town R10 000 – R18 000 R18 000 – R31 000 R31 000 – R47 000

Copywriter
Johannesburg R11 000 – R17 000 R17 000 – R35 000 R35 000 – R69 000
Cape Town R10 000 – R17 000 R17 000 – R28 000 R28 000 – R55 000

Proofreader
Johannesburg R14 000 – R19 000 R19 000 – R30 000 R30 000 – R45 000
Cape Town R10 000 – R15 000 R15 000 – R25 000 R25 000 – R40 000

Creative strategist
Johannesburg N/A R22 000 – R35 000 R35 000 – R48 000
Cape Town N/A R20 000 – R33 000 R33 000 – R42 000

Studio manager
Johannesburg R30 000 – R35 000 R35 000 – R40 000 R40 000 – R50 000
Cape Town R25 000 – R30 000 R30 000 – R35 000 R35 000 – R45 000

DTP operator
Johannesburg R9 500 – R16 000 R16 000 – R25 000 R25 000 – R40 000
Cape Town R8 000 – R15 000 R15 000 – R24 000 R24 000 – R36 000

Promo director/producer
Johannesburg R10 000 – R15 000 R15 000 – R27 000 R27 000 – R45 000
Cape Town R9 000 – R13 000 R13 000 – R25 000 R25 000 – R40 000

Animator/motion graphics designer
Johannesburg R12 000 – R18 000 R18 000 – R32 000 R32 000 – R55 000
Cape Town R10 000 – R16 000 R16 000 – R26 000 R26 000 – R41 000

Video editor
Johannesburg R10 000 – R15 000 R15 000 – R30 000 R30 000 – R48 000
Cape Town R9 000 – R13 000 R13 000 – R22 000 R22 000 – R37 000

Creative: Digital

0–2 yrs (light)

2–5yrs (medium)

5–9 yrs (heavyweight)

Creative director
Johannesburg R45 000 – R55 000 R55 000 – R75 000 R75 000+
Cape Town R40 000 – R50 000 R50 000 – R65 000 R65 000+

Copywriter
Johannesburg R12 000 – R18 000 R18 000 – R35 000 R35 000 – R50 000
Cape Town R11 000 – R15 000 R15 000 – R30 000 R30 000 – R43 000

Art director
Johannesburg R13 000 – R18 000 R18 000 – R35 000 R35 000 – R50 000
Cape Town R13 000 – R16 000 R16 000 – R32 000 R32 000 – R42 000

Designer/multimedia designer
Johannesburg R13 000 – R18 000 R18 000 – R35 000 R35 000 – R48 000
Cape Town R13 000 – R16 000 R16 000 – R30 000 R30 000 – R40 000

User experience (UX) lead
Johannesburg N/A N/A R70 000+
Cape Town N/A N/A R60 000+

User experience (UX) designer
Johannesburg R16 000 – R25 000 R25 000 – R42 000 R42 000+
Cape Town R13 000 – R20 000 R20 000 – R37 000 R37 000+

User interface (UI) designer
Johannesburg R16 000 – R25 000 R25 000 – R38 000 R38 000+
Cape Town R13 000 – R20 000 R20 000 – R35 000 R35 000+

Frontend developer
Johannesburg R12 500 – R18 000 R18 000 – R36 000 R36 000 – R53 000
Cape Town R10 000 – R15 000 R15 000 – R30 000 R30 000 – R46 000

Backend developer
Johannesburg R18 000 – R22 000 R22 000 – R45 000 R45 000+
Cape Town R17 000 – R22 000 R22 000 – R40 000 R40 000+

Full-stack developer
Johannesburg R12 500 – R20 000 R20 000 – R35 000 R35 000 – R50 000
Cape Town R12 000 – R17 000 R17 000 – R25 000 R25 000 – R45 000

Marketing: Corporate communications

0–2 yrs (light)

2–5yrs (medium)

5–9 yrs (heavyweight)

Communications director
Johannesburg R37 000 – R55 000 R55 000 – R75 000 R75 000 – R130 000
Cape Town R32 000 – R42 000 R42 000 – R62 000 R62 000 – R100 000

Communications manager
Johannesburg R30 000 – R40 000 R40 000 – R68 000 R68 000 – R90 000
Cape Town R25 000 – R35 000 R35 000 – R45 000 R45 000 – R75 000

Communications officer/consultant
Johannesburg R20 000 – R30 000 R30 000 – R40 000 R40 000 – R45 000
Cape Town R16 000 – R26 000 R26 000 – R32 000 R32 000 – R41 000

Events manager
Johannesburg R28 000 – R35 000 R35 000 – R40 000 R40 000 – R70 000
Cape Town R20 000 – R28 000 R28 000 – R33 000 R33 000 – R65 000

Events coordinator
Johannesburg R18 000 – R22 000 R22 000 – R30 000 R30 000+
Cape Town R15 000 – R20 000 R20 000 – R30 000 R30 000+

Internal communications manager
Johannesburg R27 000 – R35 000 R35 000 – R48 000 R48 000 – R78 000
Cape Town R22 000 – R30 000 R30 000 – R40 000 R40 000 – R52 000

PR consultancies

0–2 yrs (light)

2–5yrs (medium)

5–9 yrs (heavyweight)

Managing director
Johannesburg R65 000 – R75 000 R75 000 – R80 000 R80 000 – R130 000
Cape Town R55 000 – R65 000 R65 000 – R70 000 R70 000 – R110 000

Account director
Johannesburg R35 000 – R41 000 R41 000 – R50 000 R50 000 – R65 000
Cape Town R31 000 – R36 000 R36 000 – R41 000 R41 000 – R50 000

Account manager
Johannesburg R25 000 – R30 000 R30 000 – R36 000 R36 000+
Cape Town R22 000 – R26 000 R26 000 – R31 000 R31 000+

Account executive
Johannesburg R16 000 – R21 000 R21 000 – R24 000 N/A
Cape Town R14 000 – R19 000 R19 000 – R21 000 N/A

Public relations assistant
Johannesburg R10 000 – R14 000 R14 000 – R19 000 N/A
Cape Town R8 500 – R13 000 R13 000 – R18 000 N/A

Media

0–2 yrs (light)

2–5yrs (medium)

5–9 yrs (heavyweight)

Media director
Johannesburg R38 000 – R44 000 R44 000 – R54 000 R54 000 – R80 000
Cape Town R28 000 – R38 000 R38 000 – R48 000 R48 000 – R75 000

Media planner
Johannesburg R27 000 – R30 000 R30 000 – R43 000 R43 000 – R53 000
Cape Town R20 000 – R28 000 R28 000 – R35 000 R35 000 – R40 000

Media buyer
Johannesburg R16 000 – R23 000 R23 000 – R33 000 R33 000 – R43 000
Cape Town R12 000 – R15 000 R15 000 – R23 000 R23 000 – R28 000

Media strategist
Johannesburg R30 000 – R35 000 R35 000 – R50 000 R50 000 – R80 000
Cape Town R22 000 – R27 000 R27 000 – R40 000 R40 000 – R70 000

Media sales executive
Johannesburg R25 000 – R28 000 R28 000 – R38 000 R38 000+
Cape Town R20 000 – R25 000 R25 000 – R35 000 R35 000+

Media sales director
Johannesburg R35 000 – R40 000 R40 000 – R48 000 R48 000 – R90 000
Cape Town R30 000 – R35 000 R35 000 – R40 000 R40 000 – R60 000

Media sales digital
Johannesburg R27 000 – R35 000 R35 000 – R45 000 R45 000+
Cape Town R20 000 – R27 000 R27 000 – R35 000 R35 000+

Digital media strategist
Johannesburg R38 000 – R42 000 R42 000 – R57 000 R57 000+
Cape Town R27 000 – R32 000 R32 000 – R42 000 R42 000+

Campaign manager
Johannesburg R18 000 – R25 000 R25 000 – R35 000 R35 000+
Cape Town R15 000 – R22 000 R22 000 – R30 000 R30 000+

Biddable specialist
Johannesburg R20 000 – R25 000 R25 000 – R30 000 R30 000+
Cape Town R15 000 – R22 000 R22 000 – R30 000 R30 000+

 

See also

 

MarkLives logo— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#BigQ2019: Big data — rethink or die

by Joey Khuvutlu (@Digital_Darkie) In 2019, the industry has to prioritise delivering on the ‘grand promise’ of data-driven creative ideas and business solutions.

Too few examples

There are too few examples of where data has been used to reveal customer pain points and unmet needs, predicted consumer behaviour and, ultimately, creatively solved business problems. In addition, our post-campaign analysis remains largely focused on campaign reach and various brand engagement metrics with little emphasis on data, such as lead generation and conversion rates.

For the past two years, I have judged various categories at Loeries. Digital Interactive has provided a front-row view of what is collectively deemed as the best work across various digital categories — Data-Driven Campaign, however, not so much. On the face of it, it seems an unnecessary and strange one to have, because all digital output is inherently data-driven or data-informed in some shape or the other. That said, the category plays a valuable role, because it provides insights into how agencies are engaging and using data to build brands.

Opportunities in other phases

In two years of judging, I’ve seen much work that showcases the data used to garner insights and inform a communication idea. Agencies also tend to use limited data sources with a focus on solving for campaigns in the awareness phase of the purchase funnel, when there are opportunities in other phases.

According to a study by McKinsey released at Cannes Lions, the blend of data and creative thinking is likely going to be what helps business grow their revenues at 10% a year, twice the average rate of S&P 500 firms. The volume, velocity and variety of data will only continue to grow. Agencies need to widen their data sets and deepen their data analytics capabilities to find new opportunities for creative problem-solving.

Empower

Agencies need to invest in the skills, technology and partnerships that will empower them to play with data. They need to overlay social, search, website analytics, CRM analytics, call-centre analytics, sales performance and various third-party data. By experimenting with new and broader sets of data, we will explore new opportunities to drive business and add value to consumers’ lives in meaningful ways.

The task, however, is not a one-sided endeavour. Brands and their owners and custodians must come to the party. Importantly, they need to grant agencies access to more of their business data and to facilitate the sharing of data between their various service providers. The data function should be considered as an always-on service that isn’t limited to campaign bursts.

Co-invest

The need for the specialised skills of business and data analysts and data scientists has never been more necessary. Together, agency and brands need to co-invest to truly unlock the much-talked-about yet illusive promises of big data to drive business growth and deliver innovation.

See also

 

MarkLives logo What are the industry expectations for the marketing and advertising industry in 2019? Kicking off our “Big Q” column for the year, a panel of key agency and marketing executives discusses the macro environment, budgets, changes in messaging, movement in the industry and any consumer and communication trends they’ll be looking out for in the year ahead.

Joey Khuvutlu (@Digital_Darkie) is MD of Hellocomputer Joburg, an award-winning digital agency that is part of FCB Africa. He is also currently head of the IAB Education Council, focused on linking digital industry, educational institutions and learners in order to continuously empower current digital professionals, prepare the industry’s future workforce and drive sustainable transformation. A creative industries entrepreneur, Joey previously founded three boutique agencies operating in the brand-design and digital brand-activations space.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#VWDriveDry — shock tactics to drive change or just shocking?

by Emma King (@EmmainSA) What’s gotten everyone riled up with VW’s Drive Dry campaign with Nomuzi Mabena (aka Moozlie)? In terms of that dreaded PR term, “talkability”, it certainly worked and many would say that any discussion, good or bad, means that it’s making an impact. But was this a step too far?

There are several ways of looking at it but I always find it helpful to go back and ask: “What were we trying to achieve, and did we do that?” Too often, brands get caught up in the drama and excitement of getting column inches and mentally prepping their awards-entry case-study video, rather than attempting to drive real behaviour change and properly measure the long-term impact.

Old-school PR

VW/Diageo/Moozlie (I’m still not sure who the “beneficiary” of this campaign was supposed to be) certainly did get themselves firmly placed in the limelight and, if we’re to measure it in an old-school PR away of tracking AVE and social media hits, it’s a success.

But did it achieve anything more substantial? Is there any evidence of any long-term, substantial behavioural change by people on the roads? What is the lasting reputational benefit for the brands involved?

I would argue that this is where the campaign falls short. Having worked on a number of “Drink Responsibly” campaigns over the years, the one thing that has resonated is the absolute knowledge that once-off PR stunt does little to drive real behavioural change. (The only example I can think of that challenges this idea is the City of Cape Town’s 2018 campaign about Day Zero — which certainly got people radically looking at how they consumed water but also had many unintended negative consequences on the tourism and business sectors).

Solid strategy

Instead, it generally calls for a solid strategy that combines widespread communications campaigns, spread over months or years, that are combined with real on-the-ground interventions.

A case in point in a SAB project from some years ago, aimed at specifically impacting deaths and injuries linked to irresponsible drinking. As well a massive PR, ATL and social media awareness campaign that ran for over a year, it invested in projects and interventions that made a real impact within the communities within which they operated — two examples being projects which educated shebeen and bar owners to operate responsibly; and another which developed foetal alcohol syndrome education initiatives. The result was that, after a year, and with clever planning and measurement before and after, real change could be measured.

Perhaps we are selling the team short, and this stunt forms part of a bigger plan from VW and Diageo. It will be interesting to watch and see what they do next.

Played relationships

The other element of this campaigns which niggles is the way in which the comms team played its relationships with journalists and Moozlie’s fans. There was, apparently, 14 hours of silence between the ‘accident’ and the ‘reveal’, with the PRs involved feeding the media and fans some pre-scripted nonsense.

Reputations — those of brands and those of people — rely so much on a delicate balance of trust and reliability. As much as many may be ‘relieved’ that she’s OK, they’ll also be sitting back and contemplating on how they were taken for a ride. As for the comms team members who managed queries with a series of non-and half-truths, they might well find that their relationships with the media might suffer after this.

I can’t be completely dismissive of this campaign. It takes a lot of guts to come up with and run a concept like this, and kudos to the brands for having the bravery to do this — and bravery is what we need to make a tangible difference on the shocking behaviour we see on our roads. I do, however, hope that this is part of a bigger plan from the agencies and brands involved, rather than a standalone stunt developed simply to get some talkability going in time for awards season…

See also

 

Emma KingEmma King (@EmmainSA) is the owner and MD of The Friday Street Club (@TheFridayStClub). She specialises in consumer and brand marketing and PR, corporate communications, crisis and issues management, and writing.

“Motive” is a by-invitation-only column on MarkLives.com. Contributors are picked by the editors but generally don’t form part of our regular columnist lineup, unless the topic is off-column.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

#BigQ2019: How much change will there really be?

by Johanna McDowell (@jomcdowell) Are we looking at some fundamental changes or will it be business as usual for the advertising, marketing and communications industry in 2019? I think there’ll be some interesting developments as the industry, both locally and globally, gears up for the challenges that a new year will undoubtedly bring.

Some thought-starters

  • 2019 will see a few more startups in the agency world as the industry fragments further These are likely to be more strategic and creative in nature — creative hot shops. The era of the digital-only startup is over
  • Greater and greater integration with the integrated agencies looking to boost those areas of their businesses where they’re not as strong eg deep digital, development and tech pl;us analytics
  • Clients doing more in-house, especially in the area of digital media and analytics — but this will start to change towards the end of 2019, when clients discover how difficult this is to manage without sufficient skills
  • In South Africa, we should see some growth in budgets as the worst of our economic decline should be behind us; however, clients will expect more and more from agencies
  • The duopoly of Google and Facebook will see a marked decline as Amazon comes to the fore; already the fastest-growing digital media platform globally, agencies will have the opportunity to show clients how to work with Amazon and create awareness for their brands via that platform
  • I would love to see a few of the international micro networks such as 72andSunny, Anomaly and Dept entering our market; highly talented with unique agency operating models, as well as future-fit thinking, these agencies would shake up some of the creative complacency that we’re seeing in SA at present
  • Growth in Africa? Still a very big question mark over what is possible
  • PR and integration: high-level PR thinking is still needed but is chronically undervalued by clients and other agency disciplines that fail to understand what PR can achieve. Agency groups which can succeed with this will continue to grow. PR agencies that focus on content — especially video editorial — will win.
  • Transformation continues to be a big issue and I’m not sure that the industry is really solving this. 100% black-owned agencies struggle to get past the 10 people level; I’m not sure that clients really take them seriously. They want to but are very nervous about delivery and execution capabilities. Agencies that execute well will win. But, until then, the larger agencies which have done interesting transformation deals that include trusts, non-executive directors and shareholders will tick the transformation boxes of certain clients — for now. The MAC Charter might need to be relooked at.
  • Pitch processes will continue to attract positive and negative comment but, nonetheless, will play a very important role in our industry —a fact of life. Globally.

See also

 

MarkLives logo What are the industry expectations for the marketing and advertising industry in 2019? Kicking off our “Big Q” column for the year, a panel of key agency and marketing executives discusses the macro environment, budgets, changes in messaging, movement in the industry and any consumer and communication trends they’ll be looking out for in the year ahead.

Johanna McDowell (@jomcdowell) is MD of the Independent Agency Search and Selection Company (IAS), which is partnered with the AAR Group in the UK. Johanna is one of the few experts driving this mediation and advisory service in SA and globally. She also runs the IAS Marketers Masterclass, a programme consisting of masterclasses held in Cape Town and in Johannesburg. Twice a year she attends AdForum Worldwide Summits.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

SA TV Ratings: DStv — primetime top 30 for Dec, Nov 2018

by MarkLives (@marklives) The hottest primetime shows on DStv in South Africa revealed: TV ratings for December and November 2018.

DStv logoDStv, December 2018

Top 30 Programmes All Adults 15+ & DSTV Adults
December 2018 Prime Time 5.30pm—10pm

Source: BRCSA December 2018

 Adults 15+ years U:35679 S:8278

Digital DSTV U:19816 S:5142

Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

AR

Viewers

Share
Mon 03/12/2018 2058 2129 MZAN The Queen Movi 3.6 1 266 749 11.1 7.9 1 571 311 24.3
Sun 09/12/2018 1904 2002 MZAN Our Perfect Wedding Dram 2.4 841 970 8.3 5.5 1 082 348 17.6
Tue 11/12/2018 2032 2100 MZAN Isibaya Dram 2.2 800 778 6 5.1 1 010 257 13.4
Sun 23/12/2018 2000 2055 MZAN The Imposter Movi 2 721 630 7.6 4.3 848 995 14.8
Sun 09/12/2018 1802 1902 MZAN Date My Family Real 1.7 602 540 6.9 3.9 770 860 14.1
Sun 30/12/2018 2100 2130 MZAN Housekeepers Dram 1.6 574 118 6.5 3.3 660 935 11.8
Thur 20/12/2018 1600 1653 MBIO Umfelokazi 3 Dram 1.6 554 724 9.2 3.5 698 706 16.4
Tue 18/12/2018 1900 1929 MZAN The Throne (Drama) Dram 1.5 538 093 5 3.5 697 393 10.6
Mon 10/12/2018 1800 1827 MWET Isithembiso Dram 1.4 506 141 5.2 3.1 622 501 10.4
Thur 20/12/2018 1500 1555 MBIO Umgcagco Wezinyembezi Dram 1.4 497 979 8.3 3.2 631 019 15
Sat 29/12/2018 1631 1723 MBIO Balungile Dram 1.3 473 441 7 2.8 550 711 12
Sun 30/12/2018 2000 2029 MWET Lockdown (Drama) Dram 1.3 470 990 4.6 2.9 581 447 9.5
Thur 20/12/2018 1658 1659 MBIO Epk:Wrinkle in Time Docu 1.3 464 610 9.3 2.9 573 045 16.6
Mon 31/12/2018 1000 1009 CHNO Double Play Musi 1.3 463 811 7.2 3.1 619 453 15.5
Tue 18/12/2018 2000 2028 MZAN Please Step in Vari 1.3 461 927 4 2.9 582 492 8.4
Thur 13/12/2018 2003 2032 MZAN The Ranakas Real 1.3 461 698 3.8 2.9 572 205 8.3
Fri 21/12/2018 1600 1652 MBIO Nkosazane Dram 1.3 459 372 8.1 2.9 564 877 13.5
Mon 10/12/2018 1700 1752 MBIO Izinqumo Esizenzayo Dram 1.2 439 991 5.8 2.7 532 835 10.5
Sat 29/12/2018 1730 1822 MBIO Mathabo Movi 1.2 435 255 5.7 2.6 519 069 10.2
Mon 24/12/2018 1100 1128 CHNO Crispy Fresh Musi 1.2 433 732 8.4 2.8 546 308 16.2
Sun 02/12/2018 1400 2259 CHNO Global Citizan Live Vari 1.2 429 965 6.2 2.7 531 921 12.2
Tue 11/12/2018 1500 1554 MBIO Vusumuzi Dram 1.2 419 160 7.3 2.6 509 330 12.3
Tue 11/12/2018 1000 1028 MZAN The Queen-R Dram 1.2 417 381 6.7 2.6 509 168 12.9
Sat 29/12/2018 1500 1630 MBIO Luthando Movi 1.2 414 462 6.5 2.5 494 208 11.5
Mon 31/12/2018 1430 1559 CHNO Strictly Musi 1.2 411 417 7.2 2.6 522 185 12.8
Thur 20/12/2018 1700 1750 MBIO Inhliziyo Yethu Dram 1.1 402 630 5.7 2.5 505 403 11
Sun 09/12/2018 1800 1854 MBIO Ke Mofumane Movi 1.1 398 917 4.6 2.7 530 054 9.7
Mon 10/12/2018 1600 1658 MBIO Ubudoda Dram 1.1 397 141 6.4 2.4 479 917 10.6
Sun 23/12/2018 1501 1553 MBIO Izinkomo Dram 1.1 387 370 6.3 2.5 485 436 11.8
Tue 18/12/2018 1700 1752 MBIO Ndabazabantu Dram 1.1 387 244 5.9 2.5 486 086 10.3

 

DStv logoDStv, November 2018

Top 30 Programmes All Adults 15+ & DSTV Adults
November 2018 Prime Time 5.30pm—10pm

Source: BRCSA November 2018

Adults 15+ years U:35679 S:8540

Digital DSTV U:19816 S:5236

Day

Date

From

To

Station

Programme title

Genre

AR

Viewers

Share

AR

Viewers

Share
Mon 19/11/2018 2100 2129 MZAN The Queen Movi 4.38 1 564 319 13.1 9.86 1 953 786 29.1
Sun 18/11/2018 1700 1906 MZAN Idols SA Real 3.56 1 270 450 14.5 8.04 1 593 844 28
Sun 18/11/2018 1907 2002 MZAN Our Perfect Wedding Dram 3.52 1 254 955 11.3 7.8 1 545 595 23.7
Sun 04/11/2018 1859 1957 MZAN Our Perfect Wedding (Mag) Maga 3.26 1 162 143 10.4 7.32 1 451 284 21.3
Mon 19/11/2018 2030 2058 MZAN Isibaya Dram 2.99 1 066 894 7.8 6.54 1 295 334 17.1
Sun 04/11/2018 2000 2057 MZAN The Imposter Movi 2.55 908 660 8.2 5.81 1 151 547 17
Sun 25/11/2018 1802 1903 MZAN Date My Family Real 1.83 652 630 7.1 3.96 784 975 14
Mon 12/11/2018 1956 2025 MZAN Housekeepers Dram 1.78 635 981 4.7 3.72 737 213 9.9
Sat 10/11/2018 1630 1744 SUP4 Absa Premiership Ajax Cape Town vs Unive Spor 1.63 583 122 7 3.27 647 155 13
Thur 22/11/2018 1900 1929 MZAN The Throne (Drama) Dram 1.62 576 620 4.6 3.34 661 960 9.8
Sat 24/11/2018 2030 2307 MZAN Dstv Mzansi Magic Viewers Choice Awards Vari 1.6 571 751 7.4 3.64 721 975 14.2
Sat 17/11/2018 1912 2110 SUP1 Scotland International Rugby Scotland Vs Spor 1.47 525 461 4.8 2.83 560 412 8.7
Sat 24/11/2018 1912 2116 SUP1 Welsh International Rugby Wales vs South Spor 1.46 521 944 5 2.84 562 178 8.6
Sat 24/11/2018 1624 1741 SUP4 Telkom Knockout Cup Baroka Fc vs Mamelod Spor 1.41 504 047 5.9 3.06 605 385 11.8
Wed 14/11/2018 1931 2000 MZAN Isithembiso Dram 1.4 498 105 3.8 3.05 605 158 8.4
Sat 24/11/2018 1500 1624 SUP4 Telkom Knockout Cup Orlando Pirates vs K Spor 1.38 491 433 6.2 3.02 599 328 12.8
Tue 20/11/2018 1001 1029 MZAN The Queen -O Dram 1.37 487 419 8 2.72 538 958 16.5
Thur 22/11/2018 2001 2031 MZAN The Ranakas Real 1.34 478 747 3.7 2.89 573 367 8
Tue 13/11/2018 2000 2028 MZAN Please Step in Vari 1.3 464 597 3.5 2.82 558 113 7.5
Thur 22/11/2018 1001 1029 MZAN The Queen-R Dram 1.3 463 917 7.4 2.78 550 958 15.7
Sun 25/11/2018 2000 2030 MWET Lockdown (Drama) Dram 1.29 459 963 4 2.91 575 719 8.2
Sun 25/11/2018 1700 1753 MBIO Umfelokazi 3 Dram 1.27 454 710 5.4 2.9 574 254 10.9
Sat 17/11/2018 1555 1716 SUP4 Total Africa Cup of Nations Qualifier 20 Spor 1.26 448 103 5.8 2.72 539 404 10.7
Sun 11/11/2018 1816 2026 SUP3 Premier League:Manchester City vs Manche Spor 1.24 441 372 4.1 2.65 526 051 8.1
Sat 24/11/2018 1455 1500 SUP4 Cross to Venue Spor 1.23 438 259 5.2 2.64 523 071 9.5
Sat 03/11/2018 1652 1959 SUP1 England International Rugby:England vs S Spor 1.22 435 438 5 2.33 462 419 8.5
Sat 17/11/2018 2058 2101 MWET Epk:First Man Docu 1.22 435 033 5.4 2.74 542 293 11.3
Sat 03/11/2018 1854 1858 SUP4 Halftime Highlights Spor 1.18 422 045 4.4 2.64 523 563 8.6
Wed 21/11/2018 1700 1756 MBIO Uthando Luka Baba Dram 1.18 421 015 5.4 2.32 460 556 9.3
Sun 04/11/2018 1601 1722 SUP4 Telkom Knockout Cup Golden Arrows vs Orl Spor 1.17 418 904 5.1 2.53 501 301 10.2

In 2016, the Broadcast Research Council of South Africa (BRCSA) changed its policy about giving away TAMS and now only monthly reports, highlighting the top 20 or 30 primetime shows on several popular channels, are available.

 

Broadcast Research Council of South AfricaThe Broadcast Research Council of South Africa (the BRC) is a non-profit, industry body that was incorporated in 2015 to cater to the audience research needs of the radio and television industry in South Africa.

— One subscription form, three newsletters: sign up now for the MarkLives newsletter, including Ramify headlines; The Interlocker, our new monthly comms-focused mailer; and Brands & Branding, launching soon!

Online CPD Courses Psychology Online CPD Courses Marketing analytics software Marketing analytics software for small business Business management software Business accounting software Gearbox repair company Makeup artist