Room214 Sample Research: TV & Entertainment

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<ol><li> 1. Digital Shifts:How New Media Is Changing TV Presented by: </li><li> 2. Presented by:IntroductionAbout This PresentationThis presentation is a joint effort between Room 214 and Crimson Hexagon. Using Crimson Hexagon data, as well aspublicly-available data, we have attempted to uncover insights into the changing landscape of televisionentertainment.For more than 50 years, traditional television broadcasters and more recently, cable networks, have held sway withglobal consumers. Today, technology is rapidly shifting this power structure. Broadcasters are more challenged thanever to adapt to viewers quickly evolving tastes for new kinds of content, as well as to emerging channels and vehiclesfor that content.This landmark study from Room 214 and Crimson Hexagon examines technologys growing impact on televisionaudiences and viewership and provides readers with a path to understanding and embracing the industrys fast-changing norms. Understanding these changes is vital if you are involved in television programming, content creation(including broadcast advertising), or delivery.We hope you enjoy this report. If you would like to discuss the implications of this data on your business, or inquirehow Room 214 and Crimson Hexagon can help solve your business problems, please contact lmaynard@room214 andwayne@crimsonhexagon.com.DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 3. Presented by:IntroductionChanges In BehaviorTwo signicant behavioral changes are redening the entertainment landscape and require networks to evolve rapidlyto keep their shows, content, and ad buys relevant to a demanding consumer set. People now consume television via time-shifted DVR, online (legally), online (illegally), mobile device, internet streaming to TV, and a wide variety of other methods. Viewers now consume multiple forms of media at the same time, such as watching TV on a television while checking Facebook on a computer.DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 4. Presented by:IntroductionChanges In Engagement And Delivery Consumers expect networks to deliver content where they want it and when they want it. If the network doesnt comply, they can simply nd the content through illicit sources. Many new products on the market make watching live television through a traditional provider an increasingly irrelevant experience. A recent study suggests that over half a million households have opted to forgo cable for online content1. We continue to see the funding and growth of products focused on multi-source consumption of entertainment. A great example of these efforts is Blip.tvs mission, to bridge the gap between the computer and the television and to bring quality online content everywhere.2 1Cheng,Roger, Cutting the Cable Cord Gets Easier, WSJ.com, October 13 2010 2Warren, Christina, With Internet TV Booming, Blip.tv Raises $10.1M, Mashable.com, May 2010DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 5. Changes inConsumer Behavior </li><li> 6. Presented by:Changes in Consumer BehaviorChanges In TouchpointsDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 7. Presented by:Changes in Consumer BehaviorTV Should Work For UsWith this change in touchpoints comes a change in consumer expectation. A recent comScore study found that viewerswho watch online-only or a mix of TV and online desire TV to be exible to their needs: 75% selected online over TV because they were able to watch the show wherever they wanted 74% selected online because they were able to watch the show on their own time Additionally, for a viewing audience under 50, the majority watch time-shifted TVMajority view time-shifted Majority view live Marketing Profs, Online TV Viewers Tolerate Ads Well, April 5, 2010. http://www.marketingprofs.com/charts/2010/3522/online-tv-viewers-tolerate-ads-wellDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 8. Presented by:Changes in Consumer BehaviorThe Power UserAs of 2009, Pew has tracked a consumer group they call Four Or More. This techie group owns and uses four or moredevices that connect to the internet. While this is, of course, a small portion of the population, its a growing portion aswell. This groups behaviors signal trends we can see for the future of entertainment consumers overall: This group is predominantly male and slightly more afuent than your average internet user 40% are 18-29 and 49% are 30-49 91% go online daily Over-indexes on content creation with 39% on Twitter (vs. 19% average) and 24% blogging (vs. 11%) With increased smartphone penetration and an explosion of tablet PCs, this highly-connected segment will growsignicantly in the next ve years. This growth means a huge increase in users at potential touchpoints betweennetworks and consumers Source: Madden, Mary, Four or More:The New Demographic, Pew Internet &amp; American Life Project, June 27, 2010DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 9. Presented by:Changes in Consumer BehaviorEntertainment Should Be EverywhereUSCs Henry Jenkins developed a concept he calls Transmedia Storytelling, which is the act of telling a story onmultiple disparate media platforms, often simultaneously.This concept is central to our understanding of tv entertainment in the new media landscape. It allows us tounderstand how a network can support an individual show through tv, print, web, and social platforms in a way thatdrives prot.Currently, many networks and shows are at odds with the web, as the nature of free and shared content removes thenetworks ability to make advertising dollars. But, to Jenkins point, we are now in a world of Transmedia Expectation.People are pissed if they go and seek out a place on the web that they think should berelated to a television show and it turns out that there isnt rich transmedia content there.DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 10. The Research:Consumer Behavior </li><li> 11. Presented by:Watching TV And...Engaging In Multi-Screen ViewingOn the following pages, you can see an in-depth look at just how different each of these platforms are. In each case,we are examining users who are online while they watch TV. As consumers now use multiple forms of technology,simultaneously, to get the most of a TV viewing experience, we can capture how they discuss this experience. Viewers can now simultaneously share opinions, discuss content, text votes, etc. with other viewers, known and unknown to them, while watching live Networks have the ability to deliver a rich media experience outside of the TV itself, one that drives real-time (vs. time-shifted viewing) or prolongs the experience past a specic weekly time slot. Blogs, forums, Facebook, and Twitter are used very differently when people are viewing live, which means that network strategy needs to always take this into account.DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 12. Presented by:Watching TV And...Updating TwitterTwitter requires nothing more than a 140-character attention span; its easy to Tweet and watch TV at the same time. People are watching TV and talking about being bored, being in bed, eating and even, self-consciously, noting they are on Twitter Few mention consumption method (DVR, for example), but 14% do make state they are watching a show or movie online through both legal and illegal platforms Little discussion of actual show content; users are more focused on sharing what they are doing in addition to watching TVDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 13. Presented by:Watching TV And...Updating FacebookUsers on Facebook are, predominantly, just letting us know they are watching a TV show. However, because Facebookallows more information to be shared, conversations are longer and more detailed. 22% of users share additional information about their lived, either through context (where they are watching, who else is with them, etc.) or by sharing a list of all their activities throughout the day, including the media the currently consuming 19% of users are starting a conversation about the showDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 14. Presented by:Watching TV And...Discussing On ForumsForum users often come to share a specic expertise or discuss a specic topic. Based on this, a large part ofconversation in forums focus on viewing setups and technical specications.DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 15. Presented by:Changes in EngagementMulti-Screen Apps: What Consumers Say Users mainly discuss two things, the shows they are watching or the badges they have received 90% of the overall conversation comes through automated Twitter messages Very low discussion or usage outside of brand-mandated messagingDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 16. Changes inEngagement </li><li> 17. Presented by:Changes in Network EngagementChanges in AdvertisingThis shift in viewing habits and viewer demands has also changed the way we deliver, and can measure the impact of,advertising in television. Additionally, we are now seeing that the content itself can be used as advertising, fromFacebook posts to webisodes.There is not a strong correlation between Nielsen ratings and social media buzz. SocialSenseTVs Network Ratings Report suggests that social buzz should be considered in ad buys. High buzz could suggest a strong relationship between viewers and a given show, even if not reected in ratings . This also means that media buys for lower-rated shows with high online buzz can produce signicant impact at a lower price Branded content integration provides a great example of the relationship between advertising and social media. When Modern Family used an iPad in an episode prior to iPad release, the network was able to measure $516k in earned media through mentions that included both the show and product directly after airing1Online-only ad buys may also be a route for achieving more eyeballs. A recent comScore study suggested that online viewers tolerate 6-7 minutes of advertising per hour, versus the 4 minutes per hours for regular2Anecdotally, weve observed that some shows, like Project Runway, have more advertising in recent On-Demandepisodes than they do in older On-Demand or live episodes 1. Neely, Dan, Use Social Media Ratings and Analysis to Inform Upfront Buys, imediaconnection.com, May 18th, 2010 2. Marketing Profs, Online TV Viewers Tolerate Ads Well, April 5, 2010. http://www.marketingprofs.com/charts/2010/3522/online-tv-viewers-tolerate-ads-wellDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 18. Presented by:Changes in EngagementDelivering On Transmedia StorytellingJenkins identied 7 individual characteristics that allow a story to catch hold in this transmedia environment. Proper utilization of characteristics can drive additional, meaningful, user engagement. In the following pages, I will elaborate what these look like when put into practice: Drillability: The ability for a story to create fanatic fandom, allowing fans to dig deeper and deeper into a story on their own time and through their own efforts Multiplicity: A storyline doesnt need to be continuous anymore. It can branch out on multiple platforms, with variations in plot and characters proceeding forward and not relating to each other. Example: Spider Man has multiple story executions across multiple continents that do not relate. Immersion/Extractability: At times, we desire to be pulled into the ction of a plotline, and at times we pull the ction of the plotline into our own world. Good plots allow viewers to take advantage of this. World Building: Potential for complexity in relationships that force us to chart the geography/relationship of things. Seriality: The story can be told in chunks. You now see strategies in pre-show buildup as part of an overall serial structure. This also allows for a situation where the story in our head can be slightly different than the actual plot. Subjectivity: We can access the viewpoints of different characters through blogs, Twitter handles, and Facebook posts from individual characters or actors. Performance: We take this content, build on it, and play it out in our own life.DIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 19. Presented by:Changes in EngagementInuencer Communities The Discovery Channel and USA have developed unique inuencer communities focused on engaging those most passionate about their network/show. These communities allow for individuals to develop expertise, complete tasks, get points, and gain recognition. Concepts Used: Drillability, Seriality, SubjectivityDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 20. Presented by:Changes in EngagementLive Chats Live chats allow fans to interact with talent and those related to show. Talent, in character, give color to live episodes or provide additional information outside of an episode. Previously, this information was only speculative or up to gossip and entertainment sites Concepts Used: Subjectivity, Immersion/ExtractabilityDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 21. Presented by:Changes in EngagementTrue Blood, as a whole HBO launched a widespread campaign prior to show launch that told a story through many different forms of media. Bloodcopy.com served as a blog and social feed, pulling in information from pre-approved journalists, inuencers, and the general public. The show had an extensive media buy, presenting print ads that advertised goods and services for actual brands, but targeted at vampires. They also bought out a Page 6-esque spread in Vanity Fair that shows vampires and celebrities together at events. Concepts Used: Drillability, Multiplicity, Immersion/Extractability, Seriality, PerformanceDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 22. Presented by:Changes in EngagementPlot Expansion AMC manages over 90 Twitter handles related to Mad Men, and used their agency Brand Fiction Factory to take 17 of those handles and enact an entire plot line that was alluded to in-episode, but never actually lmed Watch it here Concepts Used: Multiplicity, Immersion, SubjectivityDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 23. Presented by:Changes in EngagementMulti-Screen AppsThree applications have come into market in the past year that are focused on Foursquare-like check-ins specic totelevision. GetGlue, Tunersh, and Miso ask users to check into a specic show, web video, or form of entertainment Check-ins are shared in a news stream and allow users to browse and discover trending content. Allows consumers to bring that experience into their own lives through badges and stickers Concepts Used: Immersion/Extractability, PerformanceDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 24. Changes in Delivery </li><li> 25. Presented by:Changes in DeliveryNew TV EmergesDIGITAL SHIFTS: HOW NEW MEDIA IS CHANGING TV </li><li> 26. Presented by:Changes in DeliveryTV DeliveryWhen we take a look at the way consumer discuss New TV, we nd that there is not a large amount of conversationdriven by individual consumers. This is partly due to the barrier to entry: pulling entertainment...</li></ol>