INTRODUCTION
THE RELENTLESS PACE OF CHANGE
CONTENT VISIBILITY: TIP OF THE ICEBERG
500x bigger than the surface web & unreadable by machines CLIENTS
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DURING HOLIDAY
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60%
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Text100 Survey 2012 4,600 respondents across 13 markets
THE SOCIAL TOURIST “There are a good few Sherlock locations in London, so I put together a walk taking in some of the major filming spots”
AFTER HOLIDAY -ontheluce.com (Blog)
50%
40%
30% “We stayed here partly because it was the filming location for the police station in the second season of Swedish Wallander films”
20%
10%
“The Blue Door from Notting Hill and a very excited Emma !”
“Photos I took from the Harry Potter Studio Tour in London”
QUANTIFYING LOCATION PLACEMENT VALUE
RESEARCH STATISTICS LONDON PRODUCTIONS
YSTAD PRODUCTIONS
Harry Potter, 2001-11 Sherlock, 2010-present Notting Hill, 1999
Wallander (both versions, excluding books), 2005-present Kyss mig (Kiss Me), 2011 Maria Larssons eviga รถgonblick (Everlasting Moments), 2008
APULIA PRODUCTIONS
MALTA PRODUCTIONS
Mine vaganti (Loose Cannons), 2010 Braccialetti rossi (The Red Band Society), 2014 Che bella giornata (What a Beautiful Day), 2011
Gladiator (2000) Game of Thrones (2011) Popeye (1980)
RESEARCH STATISTICS QUANTITY OF CONTENT (SAMPLE SIZE)
1,617
CHANNELS ANALYSED
238
CHANNELS ANALYSED (EXAMPLES) TOTAL REACH (APPROX)
2,200,000
NUMBER OF SOCIAL PLATFORMS
12
LOCATION PLACEMENT VALUE
PERCENTAGE OF LOCATION MENTIONS ONLINE
MINIMUM VIEWERS
DUNBAR’S NUMBER
OFFLINE
MEANINGFUL EXPOSURE
TIME SINCE RELEASE ANNUAL EXPOSURE VALUE
MINIMUM ADVERTISING COST EXPOSURE VALUE
TODAYS PRODUCTIONS…
NOTTING HILL SHERLOCK
GAME OF THRONES
NOTTING HILL
NOTTING HILL
VALUE OF LOCATION CONVERSATION (ANNUAL)
PRODUCTION
â‚Ź24.9m
55%
REASON FOR VISIT
23%
Location mentions cited some kind of positive desire to visit
Location sentiment was almost entirely positive
23%
SATISFACTION
77%
(Except for the odd complaint from locals)
25-35 YEARS OLD
63%
Conversation topics concerned cityscapes
NOTTING HILL AUDIENCE KNOWLEDGE IS STRONG The audience not only knows that this is set in London, but also clearly identifies the Notting Hill location as a specific area of London.
VISIT BECAUSE OF THE FILM Whilst they may subsequently visit London for other reasons as well (around 70%), their visit to Notting Hill specifically, is strongly inspired by the film (just over half of the audience who had visited London then visited Notting Hill as well).
LESSONS FROM SHERLOCK
LESSONS FROM SHERLOCK SHRINING The idea that a scene or an artefact from a film or a television production becomes a tribute to that production.
GAME OF THRONES
GAME OF THRONES
VALUE OF LOCATION CONVERSATION (ANNUAL)
â‚Ź1.3m
PRODUCTION
15%
AUDIENCE LOCATION AWARENESS
68%
32%
of Fans knew it was filmed in Malta
Many tourists had visited Malta BEFORE they knew it was a filming location
REASON FOR VISIT
60%
SATISFACTION
40%
Malta Mentions in general Locations referred to included Medina (17%), Azure Window (9%) and both Valetta and Dwejra (4%)
25-35 YEARS OLD
LESSONS FROM GAME OF THRONES BEAUTIFUL LANDSCAPES Lots of rich content, beautiful landscapes are often pictured, as are distinctive buildings. Locations that are particularly significant within the context of the production, such as little finger’s brothel, are also popular.
LESSONS FROM GAME OF THRONES LOCATION AWARENESS The production attracted significant commentary, but many people didn’t know that the film was filmed in Malta until after visiting/after having left Malta.
“I knew some parts were filmed in Malta, but had no idea I walked right pass some of them!”
“I was there back in October last year and never even knew they filmed it in Malta. Damn it.”
TOTALS
LOCATION PLACEMENT VALUES LONDON PRODUCTIONS
LPV
YSTAD PRODUCTIONS
LPV
HARRY POTTER (2001-2011)
€13.3M
KYSS MIG (2011)
€40,900
NOTTING HILL (1999)
€24.9M
MARIA LARSSONS EVIGA ÖGONBLICK (2008)
€260,800
SHERLOCK (2010-present)
€13.7M
WALLANDER (2005-Present)
APULIA PRODUCTIONS
LPV
MALTA PRODUCTIONS
€22.8M
LPV
BRACCIALETTI ROSSI (2014)
€8.8M
GAME OF THRONES (2011-present)
€1.3M
CHE BELLA GIORNATA (2011)
€1.1M
GLADIATOR (2000)
€1.1M
MINE VAGANTI
€1.7M
POPEYE (1980)
€12.2M
CONCLUSIONS
Key Conclusions 1. SOCIAL WEB RESEARCH IS APPROPRIATE Demonstrates the successful application of a social media-based methodology to the measurement of LPV in 12 unique productions across multiple languages (including one series of films).
Key Conclusions 2. PRODUCTION SETTING IS RELATED TO EXPOSURE Exposes the link between a production’s setting and subsequent location-based exposure and/or documented visits to a location. To what degree depends on the specificities of the production and the nature of the featured location (fictional, recognisable, etc.).
Key Conclusions 3. TELEVISION AND FILMS BOTH PERFORM WELL Shows that television series’ perform as well as feature films in their LPV – and often perform even better if the location is both contemporary or easily recognisable.
RECOMMENDATIONS
Tracking, Expansion & Data Blending 1. TRACK OVER TIME Consider a ‘tracking’ programme to investigate how LPV may change over time (e.g. before, during, and after production releases) and adjust the scope of the research’s timeframe accordingly.
Tracking, Expansion & Data Blending 2. LANGUAGE SUPPORT Increase language support for productions that are only known within their country of origin or are exported into markets with a different language.
Tracking, Expansion & Data Blending 3. DATA BLENDING Consider integrating GDP and tourist value statistics if working in partnership with tourism agencies (e.g. place a value on the conversation/visitor origin to increase granularity of the digital landscape’s value).
Tracking, Expansion & Data Blending 4. MEASURE COUNTRY LEVEL & FANTASY LOCATIONS Structure and rank ‘location awareness’ for country as well as region. Also, consider incorporating and ranking fictional locations as well.
DATA VISUALISATION & ACCESS: DASHBOARD
http://dash.human-digital.com/euroscreen