Advertising lawyer in Almaty — we review creative before launch, not after an order

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We review layouts, videos and texts before placement
We respond to orders and defend in advertising disputes
We sort out rights to music, photos and third-party brands in creative
We draft contracts with agencies, bloggers and platforms

Advertising law

We work with advertisers, agencies and platforms

Reviewing creative before launch costs incomparably less than a pulled campaign

We look not only at the text, but also at rights to music, footage and images of people

We analyse comparisons with competitors and claims of superiority

We handle disputes over unfair competition and respond to claims

We draft contracts with bloggers so that liability is properly allocated

Send us the layout, script or copy — we will tell you what will have to be proven in it and what is better reworded. Checking one creative is free: it is cheaper to fix a word than to pull a campaign from placement.

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8^years

in advertising and IP

Creative, content rights, contracts with agencies
1^day

to check a layout

The usual timeframe for static creative and copy
3^{out of 5}

layouts with risks

The share of creatives where we find disputed claims
90⁺

campaigns checked

Outdoor advertising, video, digital, bloggers

Checking creative before launch

We read the layout, script or copy and point out the claims that will have to be proven and the wording that is better changed.

A notice has arrived

We prepare a response and, if the grounds are disputable, challenge it. Some claims are dropped by explaining the actual circumstances and presenting evidence.

A dispute with a competitor

Incorrect comparison, claims of superiority, copying of identity. We act both for the claimant and in defence against accusations.

Rights to music and video

We check that the use of a track, stock or someone else's video is properly documented. Claims over music in advertising are a frequent and expensive matter.

Images of people

Filming models, employees, passers-by and clients. Consent and a properly drawn-up contract are needed, otherwise the video will have to be taken off air.

Contracts with bloggers

Who is responsible for the content of the integration, what to do if a claim is made, how rights to the created content are secured and the placement timelines.

Promotions and giveaways

Rules for running them, how winners are determined, tax and organisational consequences. This is where mistakes are made most often.

Contract with an agency

Allocation of responsibility for the creative and the placement, rights to the created materials, the procedure for approval and acceptance of work.

Show us the creative — a advertising lawyer will tell you what you will have to prove

Checking one layout is free. If there are no disputable claims in the creative, we will say so — looking for problems where there are none is not in our interests.

Message us on WhatsApp +7 778 325 44 44

We launch a campaign
An order has been issued
A competitor's complaint
A dispute about comparison
Music in a video
Filming people
Integration with a blogger
We run a giveaway

Cost

How much do the services cost advertising lawyer

Checking creative is priced by format: text and a static layout cost less than a video with a script and music. Disputes and responses to orders — by volume of work.

Service	What is included	Cost
Checking one creative	A layout, post or short text	free of charge
Campaign review	A set of materials with a written opinion	from 60,000 ₸
Review of a video with a script	Text, music, filming, rights to materials	from 80,000 ₸
Legal assessment of a comparison	Claims of superiority and their provability	from 55,000 ₸
Response to an order	Preparation of position and documents	from 90,000 ₸
Appeal against a decision	Preparation and support of the hearing	from 180,000 ₸
Complaint against a competitor	Recording the violation and filing	from 100,000 ₸
Defence against a competitor's complaint	Position and evidence	from 110,000 ₸
Review of rights to music and content	Licences, stock, third-party materials	from 45,000 ₸
Contract with a blogger	Liability, rights, deadlines	from 70,000 ₸
Rules of a promotion or prize draw	Terms, winners, consequences	from 85,000 ₸
Support for the advertiser	All campaigns and creatives on an ongoing basis	from 190,000 ₸/month

The ranges are indicative and do not constitute a public offer. State duty, expert examinations and notarial inspection of pages are paid separately.

Find out the cost for my case

How it works advertising lawyer: from layout to launched campaign

We look at the message

We work out what exactly the advertising claims. It is not general words that turn out to be disputable, but specific statements — about being first, effectiveness, price, composition.

We check whether it can be proven

Every factual statement must be supported. If there is evidence, we record it in advance; if there is none, we propose wording that does not require proof.

We examine comparisons

Comparison with competitors is permissible, but on comparable parameters and without disparagement. The most common mistake is to compare different things and claim overall superiority.

We check rights to materials

Music, photos, video, fonts, third-party trademarks in the frame. A stock licence does not always cover advertising use — this is checked separately.

We look at the people in the frame

Consents from models, employees, clients and passers-by. Verbal consent is not enough, and without a document the campaign has to be pulled.

We provide wording

We do not just flag a risk, we propose replacement text. Marketing needs a message that works, not a list of prohibitions.

We record the substantiation

We assemble a folder of evidence for each statement: research, calculations, certificates. If a request comes in, the response is prepared in a day, not a month.

We handle the dispute if one arises

We respond to orders and competitors' claims, and appeal where necessary. Having evidence gathered in advance changes the outcome of most such cases.

The campaign is about to launch, and the lawyer hasn't seen it?

Send the layout or script to WhatsApp — we'll review it within a day and tell you what you'll have to prove.

Describe your situation

Team

Team of lawyers in Almaty

We handle a case from start to finish with the same team: you always know who is dealing with your matter and who to contact.

Asel Kurmanova

Lawyer for civil cases

Handles disputes over real estate, inheritance, contracts and transactions. Supports transactions from document review through to registration of title.

14 years of practice
Civil and housing disputes
Kazakh and Russian languages

Dmitry Kim

Lawyer for financial and motor vehicle disputes

Works with banks, insurers and debt collectors, handles recovery and bankruptcy cases, and defends drivers in administrative matters.

11 years of practice
Banks, insurers, motor vehicle disputes
Pre-trial settlement

Gulnara Abisheva

Lawyer for family and social matters

Handles divorces, division of property, alimony and disputes over children, as well as employment, pension and social issues.

9 years of practice
Family and employment disputes
Work with guardianship authorities

Yerlan Sagintayev

Lawyer for corporate law

Supports company transactions, arranges shares and corporate agreements, handles disputes between participants and reorganisation.

13 years of practice
Transactions, shares, corporate disputes
Support for investment rounds

Aigerim Nurlanova

Tax lawyer

Challenges notifications and inspection reports, handles tax disputes in court, supports inspections and recovers overpayments.

10 years of practice
Inspections and tax disputes
Working with the client's accounting records

Viktor Li

Construction and contract lawyer

Reviews contract agreements, estimates and acts, handles disputes over quality and scope of works, supports acceptance of facilities.

12 years of practice
Contracting, shared participation, acceptance
Working with construction expertise

Madina Ospanova

Intellectual property and IT lawyer

Protects copyright and trademarks, drafts contracts for IT teams and handles rights to products and code.

8 years of practice
Copyright, trademarks
Contracts for IT and studios

Sanzhar Ibraev

Bankruptcy and debt recovery lawyer

Handles bankruptcy and rehabilitation procedures, recovers receivables, defends directors against subsidiary liability.

15 years of practice
Bankruptcy, rehabilitation, debt recovery
S

Practice

Recent case stories from our lawyers in Almaty

Details have been changed and anonymised: the content of the case is protected by professional privilege.

Pre-launch review

The word "the only one" in outdoor advertising would have cost the campaign dearly

Situation: A clinic chain was preparing a campaign on 40 billboards with wording about being the only facility in the city with a certain type of equipment. The creatives had been approved, printing paid for, and placement paid for two months — a total budget of around 18 million tenge. No one had thought to verify the claim.
What we did: We requested the substantiation and found that two other clinics had similar equipment, just from a different manufacturer. The claim of being the only one would have had to be proven, and a competitor would almost certainly have filed a complaint. We proposed a rewording that preserved the message but contained no unprovable statement of fact.
Outcome: The creatives were changed before printing, and the campaign launched on schedule. A month later a competitor did indeed send a claim on a different matter, and it was dismissed with reference to the substantiation we had prepared.

Music

The track in the video was bought on a stock site, but the licence did not cover advertising

Situation: The company used music from a stock service in a video that ran on social media and on television. Six months later a claim arrived from the rights holder demanding compensation. Marketing was certain the rights were clear: the track was bought, there was a receipt.
What we did: We pulled up the licence terms and established that the tariff purchased covered use in personal projects and corporate content, but not advertising broadcast. We assessed the extent of actual use and prepared a position: the infringement was unintentional, the use was limited, and there was a willingness to settle.
Outcome: The dispute was settled by agreement for an amount three times lower than the initial claim. The video was re-edited with different music within a week, and the company introduced a mandatory check of the licence type before editing.

Comparison

A competitor complained about comparative advertising — we defended the campaign

Situation: A household appliance manufacturer launched a campaign comparing the specifications of its model with an unnamed "ordinary" equivalent. A competitor took the view that the comparison was aimed at its product and filed a complaint, demanding that the advertising be withdrawn and declared unfair.
What we did: We showed that the comparison was based on specific measurable parameters confirmed by test reports, that the equivalent could not be identified as the product of a particular manufacturer, and that there were no disparaging statements in the creative. We submitted the full evidence base that had been assembled before launch.
Outcome: The complaint was found to be unfounded, and the campaign ran for its planned duration. The test reports gathered in advance proved decisive: without them the dispute would have taken months.

Images of people

An employee resigned and demanded to be removed from all media

Situation: The company had made a corporate video featuring its own employees. A year later one of them resigned amid a conflict and demanded that use of his image be stopped, threatening a lawsuit. The video was running in digital, and stills from it were on the website and in outdoor advertising.
What we did: We pulled the documents from the shoot: a consent form had been signed, but its wording limited use to the term of the employment contract. We assessed the risks, agreed a plan with the client to replace the materials, and in parallel negotiated a deferral of removal for placements that had already been paid for.
Outcome: An agreement was reached: the placements ran for the paid period, and new materials were shot without the former employee. The consent forms were reworked — the period of use is now no longer tied to the employment relationship.

Bloggers

A blogger said too much in an integration, and the advertiser would have had to answer for it

Situation: The company paid for a series of integrations with bloggers. One of them said in a live stream that the product had medicinal properties which it does not have and cannot have. The video gained views, screenshots circulated, and questions came in from the regulators.
What we did: We analysed the contract: liability for the content of statements was not allocated at all, and script approval had been verbal. We prepared a position for the advertiser with evidence of the approved script in the correspondence and the differences from what was actually said. At the same time we secured removal of the recording.
Outcome: The claims against the advertiser were dropped, and the recording was deleted. The contracts with all the bloggers were rewritten: mandatory written approval of the script, a ban on statements outside the approved text, liability and a removal procedure.

Prize draw

The promotion had to be stopped because of rules written by a marketer

Situation: A retailer announced a giveaway with a major prize. The rules were written by the marketing department: the procedure for determining the winner was described vaguely, the timing differed across materials, and the conditions for receiving the prize did not mention the related obligations. After the winner was announced, accusations of rigging followed.
What we did: Further communications were stopped, the rules were rewritten with a clear mechanism for determining winners and published with a fixed date. For the stage that had already taken place, an explanation was prepared describing the actual procedure with supporting materials, and responses were given to participants' enquiries.
Outcome: The conflict was resolved without proceedings, and the prize was awarded. The next three campaigns were run under rules prepared in advance, and no claims were received.

Contract with the agency

Rights to the filmed video remained with the agency

Situation: The company commissioned an agency to produce a video for 11 million tenge. A year later, when changing contractors, it emerged that the rights to the materials had not been transferred under the contract: the agency refused to hand over the source files and prohibited use of the video after the placement period expired.
What we did: We reviewed the contract and found that there was no wording on the transfer of rights, and the subject matter was described as the provision of placement services. We held negotiations based on the actual circumstances of payment and the purpose of the work, and at the same time prepared a revised contract template for the future.
Outcome: The rights to the video and source files were bought out at a nominal price as part of the settlement. The new template contract with contractors includes the transfer of rights in full from the moment of payment.

Order

The advertising claim was withdrawn using documents gathered in advance

Situation: The company received a request to substantiate the statements used in advertising a financial product: information on the rate, terms and conditions. The deadline for a response was short, and the data was held in different departments and in different formats.
What we did: Since the campaign had been reviewed by us before launch, the substantiation file had been assembled in advance: calculations, internal documents on the product terms, confirmation of the rate's validity period, and agreed wording. We prepared a response with references to the attached documents.
Outcome: The response was prepared and sent within two days, and no claims arose from the review. After that, the client moved creative review into a permanent format.

Useful information

Advertising lawyer: what to check in a creative before launching a campaign

Madina Ospanova Intellectual property and IT lawyer

Published: 14 September 2026 Updated: 16 September 2026

The layout is ready, the contractor is waiting for the go-ahead, and you are deciding whether to launch today or show the text and image to a lawyer first. Deadlines usually push, and it is at this stage that phrases like 'the most advantageous' or 'cures in a week' end up in the creative, later becoming the subject of a dispute. Advertising claims in Kazakhstan are not only brought by state bodies: competitors and dissatisfied customers also pay attention to loud promises.

A mistake costs more than it seems: the campaign is stopped, wording has to be removed, and sometimes it goes as far as court and a retraction. Sorting it out in advance is cheaper and faster than arguing after publication. Below is what an advertising lawyer looks at in a creative, where problems most often hide, and which documents are worth gathering before launch.

Why you need an advertising lawyer before launching a creative

Reviewing a creative before a campaign starts is a way to avoid learning about a problem from a platform notice or a competitor's claim after the budget has been spent and placement stopped. An advertising lawyer looks at the layout and text as a source of obligations: what is claimed, what substantiates it, and what rights you have to the materials used.

It is worth calling a lawyer when the creative contains comparisons with a competitor, promises of results, reviews, figures and statistics, images of people or someone else's music. A separate reason is campaigns involving employees, agencies and contractors: here it is important to establish in advance who owns the rights to the layout, video and photos.

The scope of work in this area is 8 years in advertising and IP: creative, rights to content, contracts with agencies. This means the review is not a single point but a combination: the creative itself, the supporting documents and the contractual basis with those who created it.

Product claims that need to be substantiated
Comparison with competitors and the superlative degree
Reviews, ratings and mentions of people
Images, music and video from external sources
Consents from employees and contractors to be filmed

How an advertising lawyer reviews a layout and copy

The lawyer starts with the copy: reading every headline, slogan and caption as a statement of fact. If the layout claims a product is the best, the fastest or the only one in Almaty, the lawyer will check what backs this up. Without evidence, such a claim in creative is a risk of complaints and orders.

Next, they look at images and content rights. Someone else's photos, film stills, competitors' logos, people's faces without consent — all of these are issues to be resolved before launch. Separately, they check the wording on the layout itself and how it combines with the image: a small-print caption will not save you if the main promise is misleading.

Finally, disclaimers and footnotes: where they sit, whether they are legible, whether they relate to the claim they limit. Reviewing static creative and copy usually takes one day, after which the lawyer says what needs fixing and what can be left as is.

Claims: 'the most', 'the best', 'No. 1' — only with supporting evidence.
Comparisons: direct mention of a competitor and their product.
Images: someone else's photos, logos, faces without consent.
Rights: licences for fonts, music, stock materials.
Disclaimers: footnotes, promotion terms, age restrictions.

Disputed claims in creative: how an advertising lawyer sees them

If there are no disputed claims in the creative, the advertising lawyer will say so directly: looking for problems where there are none benefits no one. Over the course of practice, an observation has emerged: disputed claims are found in 3 out of 5 layouts with risks — that is, in more than half of cases, the creative has to be rewritten before launch.

Most often, three groups of wording attract complaints. Superlatives — 'the most', 'the best', 'No. 1', 'the only' — without a confirmed criterion and source of comparison. Promises of results — 'we will cure', 'we will guaranteed return', '100% result' — where the outcome depends on circumstances, not on the provider. References to research — 'proven', 'clinically tested', 'according to WHO' — without naming the study itself, the author and the year.

A separate risk category is collective images and evaluative phrases like 'doctors recommend' or 'all Kazakhstanis have already appreciated it': they sound harmless but require evidence and easily turn into a dispute about the accuracy of advertising. When reviewing a client's creative from Almaty, the lawyer looks not at the beauty of the text but at which claim the reader will perceive as fact and what will have to be produced in response to a request.

When reviewing a layout, an advertising lawyer pays attention to the wording that is hardest to substantiate:

Comparison with a competitor without stating the criterion.
Quantitative promises: 'in 3 days', 'twice as fast'.
Reference to a study without source details.
Evaluative phrases presented as established fact.
Guarantees of results in services with an unpredictable outcome.

What an advertising lawyer checks in campaigns of different formats

In outdoor advertising, the key things are the location and the promise. A billboard with 'the lowest prices' is hard to substantiate, and on a billboard it is often hard to determine who exactly the advertiser is. The lawyer checks whether there is inaccurate information about price, guarantees, status, and whether there is a note that the promotion is limited. A mistake is costly: the structure may be dismantled and the materials seized.

In video ads and digital, the risks are different. People appear on screen without consent, music plays without rights, and in digital there are pop-ups and mailings without consent. For bloggers it is a separate story: advertising labelling, identifying the advertiser, bans on advertising certain goods. The lawyer checks that the integration does not look like a personal opinion without a label.

We reviewed 90+ campaigns — outdoor advertising, video, digital, bloggers. So we know where things most often go wrong: in creative that seems harmless. To understand what risks exist in your channel, it is enough to show us a layout or a script.

Outdoor advertising: location, wording, restrictions on promotions.
Video: people's consent, music, trademarks.
Digital: consent to mailings, pop-up windows, targeting.
Bloggers: labelling, advertiser, prohibited goods.

Comparison with a competitor in creative: when an advertising lawyer will allow it

You can compare yourself with a competitor in advertising, and it works better than an impersonal "ordinary equivalent". But the law permits such a comparison only under three conditions at once: the goods or services are homogeneous, the comparison parameters are the same for both, and the parameter itself is measurable and confirmed by a document. If even one condition falls away, the creative becomes disputable.

Look separately at recognisability. Comparison with a nameless "other manufacturer" is permissible as long as the details do not make it possible to understand who exactly is meant. As soon as the reader recognises a specific company by its name, logo, phrase or product description, the prohibition on disparaging a competitor kicks in.

A practical guideline — before launch, honestly gather evidence for each parameter: measurements, a report, a screenshot, a date.

The main situations are conveniently set out in a table:

A practical guideline — before launch, honestly gather evidence for each parameter: measurements, a report, a screenshot, a date. If there is no evidence, the parameter is removed from the layout rather than the wording being softened.

What is permissible in a comparison
Parameter	Permitted	Not permitted
Homogeneity of the goods	The products compared are of the same type	Comparison of incompatible categories
Single basis	Both measured by the same methodology	Different methodologies and conditions
Confirmation	There is a document, a report, a date	A statement without a source
Competitor	Anonymised equivalent	Recognisable name and disparagement

Without confirmation, a figure in creative remains disputable.

Employee consent to filming: what an advertising lawyer will take into account

A verbal "yes, go ahead and film" on set is worth nothing once the employee resigns or changes their mind. They are recognisable on camera, which means the recording of their image is personal data, and its use in advertising requires written consent. Without the document, any released video or banner featuring an employee becomes a disputable asset: it can be demanded to be taken down, and the campaign stopped.

Consent must cover not only the fact of filming but also how the material will live on. The text should expressly list the specific methods of use — social media, website, outdoor structures, paid advertising — the territory of distribution and the right to adapt: editing, cropping, subtitles. The term is fixed separately and must not be tied to the employment relationship. Otherwise, once the employee leaves, all materials featuring their face will have to be withdrawn from placement.

When reviewing creative, an advertising lawyer checks whether the consent matches the actual scenario: if an employee was filmed for stories but their face ended up on a billboard, that already goes beyond the scope of the permission. The practical minimum for a written document looks like this:

The employee's full name and details that allow them to be identified.
Specific methods of use: where and in what format the material will appear.
Territory of advertising distribution.
Right to adapt: editing, cropping, subtitles.
A term not tied to the employment contract.

Rights to the video and layout: when an advertising lawyer is needed

Commissioning a video or layout from an agency does not by itself make you the owner of the result. A contract for "production services" describes the work and its payment, but the rights to the finished creative remain with the contractor. The transfer of rights must be expressly set out in the contract: which objects are transferred, to what extent and for what term.

The most costly mistake surfaces when you change contractors: it turns out you cannot use your own video, and the source files will not be handed over to you. The same applies to layouts, photos, music, fonts and graphics — each element needs confirmation of rights. If the contractor engaged third parties, the risks pass to you along with the creative.

An advertising lawyer reviews the contract with the agency before the campaign launches and checks that it includes:

a direct transfer of exclusive rights to the video, layout and their elements
handover of source files and working materials
confirmation that the contractor is entitled to use the photos, music and fonts
a clause on continued use of the creative after termination of the contract
the agency's liability if the rights turn out to belong to someone else

A request to substantiate claims: how an advertising lawyer acts

A request to substantiate claims comes when the reviewer has doubts about the accuracy of the wording in the creative. At that point it is important to meet the deadline: missing it can worsen the position more seriously than the weak arguments themselves. It is not worth delaying the response even with an incomplete picture.

Calculations, research and product documents are gathered for substantiation. Test reports, certificates and accounting data come into play if the claim concerns price or benefit. If the campaign was reviewed before launch, the folder is already prepared and the response takes hours.

It is worth checking separately that the evidence relates specifically to the claim that raised the question and confirms it as at the date the advertising was published, rather than retroactively. If some of the data has been lost or relates to a previous version of the product, state this honestly in the response and show what you have.

If you cannot gather the supporting evidence on your own, it is more sensible to bring in an advertising lawyer straight away: they will determine which documents are actually needed and help you structure the response so that it is complete and submitted on time.

The collection of evidence is built around the reviewer's question and the type of claim. Usually the file includes:

calculations showing the figures and percentages from the creative;
studies and surveys that the wording relies on;
documents for the product: certificates, data sheets, instructions;
confirmation of status or awards, if they are mentioned.

Why an advertising lawyer advises against commissioning a study after the fact

The most expensive mistake is trying to gather substantiation for a claim after the creative has already gone live. The substantiation must exist at the time of placement: a study conducted after the request will not win the dispute. There are practically no cases where evidence that appeared after the fact saved a campaign.

The logic is simple: the reviewer looks at the date. If the supporting evidence is dated later than the start of the advertising, it does not explain why the claim was true at the moment it was shown. That is why an advertising lawyer first secures the evidence for each claim, and only then does the creative go out for placement.

Closing this gap after the fact is almost impossible: any data that appears later will look like it was tailored to a question that had already been asked. There is only one reliable path — gather the supporting evidence in advance, before consumers see the layout or the video.

If a claim relies on a survey, measurement or data extract, such materials are prepared separately for each statement and kept in their original form, with the date and source. Then, when confirmation is requested, there is something to show straight away rather than having to look for data in a hurry.

What should be secured before launch:

Test reports and opinions — dated before the start.
Contracts and documents confirming the characteristics of the goods.
Results of surveys and studies — with the date and methodology.
Consents from the people whose images or names are used in the creative.
Screenshots and archived copies of the pages the creative refers to.

What to prepare for a meeting with an advertising lawyer

For a meeting with an advertising lawyer in Almaty, bring everything the consumer will see in the creative: layouts, texts, video scripts, editing sheets, stories and banners. If the campaign has already partly launched, add links to the placements and impression statistics — this will show the real context in which the advertising operates.

A separate block is contracts with contractors: the designer, editor, photographer, blogger, targeting specialist, as well as the contract with the placement platform. Attach the product documents to them: certificates, declarations, licences, instructions, technical regulations, if the goods or service are subject to conformity confirmation. As for study data, you need the ones you refer to in your claims — with the methodology, date and source stated, not a competitor's summary.

A package put together in this way allows you to find the contentious points faster and avoid revisiting questions twice. Below is a guide to what is usually requested by format.

source materials: layouts, texts, scripts, editing sheets
contracts: with the designer, blogger, placement platform
product documents: certificates, declarations, licences
studies: report, methodology, date, source
consents: employees, models, rights holders

What to prepare by format
Format	Materials	Documents
Banner and post	layout, text, link	contract with the designer, rights to the photo
Video and clip	script, editing sheet	consents of actors, rights to music
Stories and Reels	storyboard, subtitles	consent of the blogger, placement contract
Outdoor advertising	visual, text, location	permit, rights to the image

If the campaign is already running, add links to the placements and impression statistics.

Checking the creative before launch is not about looking for problems where there are none: if there are no disputed claims in the layout, the honest answer will be exactly that. It is cheaper to read the text once and confirm the facts than to stop the campaign and explain yourself after a complaint.

Reviews

Reviews of the advertising lawyer's work

4.9

Google

4.9 · 128

Yandex

4.8 · 94

2GIS

4.9 · 156

Zoon

4.7 · 41

Chain of clinics 2 September 2026

We are a chain of clinics, we were launching an advertising campaign about new equipment, and the layout contained the word "the only one". To be honest, I didn't understand until the very end why we should even send the creative for review, since our marketing team is experienced. The lawyer calmly explained: if you write "the only one" and someone else turns out to have such equipment, that's already misleading advertising. We sent enquiries to clinics and found out that two others had similar equipment. That was the most unpleasant moment, because the layout was already in the print queue. We caught it literally just before the printing house. The campaign budget was 18 million, and if we had released the layout in that form, the money would have gone to waste plus fines. We corrected the wording, removed the word, the meaning stayed. After that we show all layouts to the lawyer first