Annual Review
A Year in TV 2013
CONTENTS 01
Contents
Who we are 02
Trends & innovation
Foreword by Lindsey Clay, Chief Executive
Even closer to content 18 ‘Screen Life: TV in demand’ – why do we watch VOD? 20 Some key TV moments of 2013 24 Ad nation 26
04
TV in numbers 06
Gogglebox reminded me of the captivating storytelling power of TV and its ability to move the nation. Sarah Leach, Connections & Media Director for North West Europe and Nordics at The Coca-Cola Company
Gogglebox Channel 4
How much TV are we watching? 09 TV advertising: Investment hits all time high 14
16
Brainboxes 30 30-second spots A golden age of TV
32 36
awarding tv excellence 40 Creative greatness Big thinking: the TV Planning Awards 2013
42 44
how can we help? 46 Dear Thinkbox…
48
02 A year in TV 2013
Who we are Thinkbox is the marketing body for commercial TV in the UK, in all its forms – broadcast, on-demand and interactive. We work with the marketing community with a single ambition: to help advertisers get the best out of today’s TV.
WHO WE ARE 03
01
02
Thinkbox’s shareholders are Channel 4, ITV, Sky Media, Turner Media Innovations and UKTV, who together represent over 92% of commercial TV advertising revenue through their owned and partner TV channels. London Live, RTL Group, SBS TVNorge, Think TV and Virgin Media are Associate Members and Discovery Channel UK, UTV and STV also give direct financial support. TV today has more to offer advertisers than ever before, not least because this growing medium remains at the heart of popular culture and advertising effectiveness. From understanding how audiences engage with TV advertising, uncovering what the latest technological developments mean, explaining innovative and affordable solutions, and encouraging creativity to providing the rigorous proof of effectiveness that advertisers need, Thinkbox is here to help customers meet their marketing objectives. In 2013 Thinkbox was named ‘Industry Body of the Decade’ at Media 360, an award which was voted for by the advertising community. www.thinkbox.tv @Thinkboxtv thinkboxblog.brandrepublic.com 01 Alexander Armstrong’s Big Ask Dave 02 The Face Sky Living 03 Amazing World of Gumball Cartoon Network 04 World Cup Qualifier ITV 05 Utopia Channel 4 06 X Factor ITV
04
03 05
05
09 06
03
04 A year in TV 2013
FOREWORD 05
Foreword
03
by Lindsey Clay, Chief Executive
04
2013 was another great year for commercial TV. Record TV advertising revenues reflect a golden age of TV content and an expanding medium helping advertisers find new ways to tap into its unrivalled effectiveness. 01
Advertising trade bodies will always find something positive to say about their medium when they look back at the year just gone. If there was a Fax Advertising Bureau it would no doubt find grounds to claim that 2013 was a vintage year. So, before you opened this glossy tome and started reading this foreword, you knew I was going to be positive about TV. But hopefully, after the next 600 words or so, you’ll find it very difficult to disagree with the fact that TV – and commercial TV in particular – had an awesome 2013. We love facts at Thinkbox – and we love bullet points – so I’ll start with some of those: • Total TV ad revenue rose by 3.5% to a new record level of £4.63 billion. 2014 is forecast to be better again (see p.14 for more detail). • 737 advertisers tried TV for the first time or came back to it after having been away.
05
• TV advertising has never been better value (see p.15). • Total TV viewing remained at the 4 hour mark – although the good weather and a lack of major sporting events combined to knock a few minutes off the average viewer’s day (see p.09).
02
• Broadcaster VOD continues to grow, with the average viewer watching an estimated 6 1/2 minutes a day (approximately half of this is via the TV set – see p.11).
There were lots of landmarks for TV in 2013. I won’t list them all here but leave you to discover them over the coming pages (and there’s a timeline on p.24). One of the most significant moments however was also one of the least noticed: the Advertising Association and Warc changed how they report ad spend to assign online ad revenues within their parent medium instead of being lumped together. So online revenue from newsbrands is now assigned to newsbrands, Broadcaster VOD revenue is assigned to TV, online magazine revenue is in the magazine brands’ pot. The move gives credit where it is due and acknowledges that the internet is a technology, not a medium, which is used by many multi-platform media.
06
Another important moment recently was the launch of Sky AdSmart, Sky’s new advertising service that tailors what is shown in TV ad breaks according to a household’s profile and location. It promises to increase the
• We each watched 47 TV ads at normal speed every day (see p.09). Beneath these solid surface figures is a fluid, vibrant and expanding world. As Kevin Spacey said at the Edinburgh TV Festival, we are enjoying a golden age for TV content. This is reinforcing the peerlessly effective environment that TV advertisers enjoy. And those advertisers are being increasingly creative in how they use TV – see p.18 for some of the innovative ways in which brands are partnering with broadcasters to develop multiplatform, content-led campaigns.
This commercial creativity also underpins how perceptions of TV are beginning to shift. The development of multi-screening and the clickability of new Broadcaster VOD advertising formats have brought TV even closer to the point of purchase and TV is now recognised as the primary real-time response generating medium. Where once it sat only at the top, TV is now colonising the rest of the purchase funnel too.
Hopefully, after the next 600 words or so, you’ll find it very difficult to disagree with the fact that TV – and commercial TV in particular – had an awesome 2013.
size of the TV advertising market by attracting new brands to advertising on TV, including local businesses who may have previously considered TV wasn’t for them. So TV has had a lot to shout about recently. But don’t take my word for it; we have invited a host of big brains from the world of advertising to give you their views on how 2013 went and what to look forward to in 2014 (see p.32). We have also managed to grab a few words from the programme chiefs at each of our shareholders to tell you about their highlights from 2013 and what to look out for in 2014. Thinkbox as an organisation had a good year too. We won a number of awards including Media 360’s Industry Body of the Decade. Obviously we’re unspeakably proud of this – as we are of Tess Alps, who was voted Media 360’s Industry Leader of the Decade. She has become Thinkbox’s nonexecutive Chair and is the definition of a hard act to follow. Before you plough on into this review and lose yourself in all things TV, I would also like to thank Thinkbox’s shareholders for their incredible support and commitment and I would like to welcome our new associate members, SBS Discovery (Norway), ThinkTV (Australia), and London Live, which launches shortly. Together, we’re looking forward to building on 2013’s successes in 2014.
01 Yonderland Sky1 02 Educating Yorkshire Channel 4 03 Homeland Channel 4 04 Coronation Street ITV 05 Through the Keyhole ITV 06 Suits Dave
LINDSEY CLAY Chief Executive
06 A year in TV 2013
TV in numbers
TV in numbers 07
Lucan ITV
08 A year in TV 2013
How much TV are we watching? 09
How much TV are we watching?
Lots of it and on more screens and in more places than ever before. This is a golden age of TV and the viewing figures reflect how TV continues to be our favourite leisure pursuit.
Broadchurch ITV
Despite the small drop in average viewing, commercial impacts during 2013 were up 1.6% on 2012, and have grown by 10.4% over the last five years. The average viewer watched 47 ads a day – four ads more a day than five years ago. Collectively the UK watched an average of 2.7 billion ads a day in 2013.
16–34
ABC1 Adults
Kids 4–15
2 hr 42 mins 2 hr 05 mins 2 hr 03 mins
2
1 hr 38 mins 1
2013
2012
2010
2011
0
Time-shifted viewing stable in Digital Television Recorder (DTR) homes Source: Sky – 10 Years of Sky Plus (Q2 2006–Q3 2010) and BARB Establishment Survey (Q4 2010 onwards). Q4 2013 DTR penetration Thinkbox estimate*. Time-shifted viewing is from BARB live data.
60
60
50
50
40
40
30
30
20
20
10
10
0
Q1–Q4 Q1–Q4 2006 2007
Q1–Q4 2008
DTR penetration
Q1–Q4 2009
Q1–Q4 2010
Q1–Q4 2011
Q1–Q4 2012
% time-shifted viewing DTR homes % total time-shifted viewing (All homes)
Q1–Q4 2013*
0
% DTR penetration
An average of 88.7% of the TV watched on a TV set in 2013 was watched live compared to 89.9% in 2012. 68% of TV set viewing was to commercial TV channels, meaning that the average person watched 2 hours, 33 minutes of commercial TV a day. Commercial TV as usual proved especially popular with younger audiences, accounting for 76% of the 16–34 age group’s viewing.
Adults 3
2009
The TV set is now and shall ever more be the nation’s favourite way to watch TV. According to the Broadcasters’ Audience Research Board (BARB), in 2013 the average viewer watched 3 hours, 52 minutes a day of linear TV on a TV set. The terrific weather we enjoyed in 2013 and the lack of major sporting events explain why this is less than the year before when we clocked up 4 hours, 1 minute a day, but it is still 8 minutes more than we were watching a decade ago (if you include TV viewing on non-TV set devices we’re watching 12 minutes more than a decade ago). And, with a World Cup in 2014, viewing can expect a football-fuelled boost.
Source: BARB Jan–Dec 2013
Number of hours of TV viewed per day
In 2013, the average TV viewer in the UK watched a total of just over 3 hours, 55 minutes of TV a day. The overwhelming majority of this – some 98.5% – was enjoyed on a TV set.
Commercial TV viewing on TV sets over time by demographics
% of all viewing
TV sets remain at the heart of viewing
10 A year in TV 2013
How much TV are we watching? 11
Playback is settling
50%
47% Platforms
45%
Android 40%
BT TV Freesat
35%
Freeview HD
30%
iOS
24%
25%
Now TV/Roku PS3
20% 15%
Smart TVs*
10% 10%
Sky HD
6%
5%
5%
4%
3%
Virgin Media 1%
0%
BBC iPlayer
ITV Player
4oD
Sky Go
• • • • • • •
• • • • •
• • •
•
•
• • • • • •
• • •
• • • • • • •
• •
•
•
• • • •
•
PS4
Viewing on +1 days same day as live
+2 days
+3 days
+4 days
+5 days
+6 days
+7 days
Wii Windows Xbox 360
•
Xbox One YouView
•
Sky OD
Demand 5
Now TV
UKTV OD
• •
•
•
• • • • • • • • • • •
• • •
• •
• •
• • • •
•
•
• • •
•
Time-shifting is driven by programme genre not ad avoidance Source: BARB Jan–Dec 2013 Individuals in DTR homes, Commercial TV vs BBC
Live commercial TV 100%
Live BBC
UK device penetration
Time-shifted 3%
33% 34%
20% 19%
20% 19%
19% 19%
90% 80%
80% 81%
80% 81%
11% 10%
10% 11%
89% 90%
90% 89%
2%
97% 98%
81% 81%
26%
Sources: Ipsos Tech Tracker Q4 2013, tablet, laptop and smartphone penetration
64%
59%
70%
0%
BBC news
Commercial TV News
BBC sport
Commercial TV Sport
BBC kids
Commercial TV Kids
10%
Broadcaster VOD: small but beautiful BBC entertainment
20%
Commercial TV Entertainment
30%
BBC films
40%
Commercial TV Films
50%
67% 66%
BBC documentaries
60%
Commercial TV Documentaries
And it is important to note – lest you think time-shifting TV is an attempt to avoid ads – that there is no significant difference in the amount of commercial linear TV which is recorded compared with equivalent BBC channels. It’s also worth remembering that only ads watched at normal speed are counted by BARB and so paid for by advertisers. Ads which are speedwatched (which do have some value) are completely free.
On-demand services by platform
Source: BARB Jan–Dec 2013 – All recorded viewing, individuals
BBC drama inc. soaps
That 81% of all recorded viewing is played back within two days of recording and 47% is seen within 24 hours of recording shows viewers’ desire to stay as close to the live schedules as possible.
People playback promptly: 80%+ within 2 days
Commercial TV drama inc. soaps
In the estimated 59% of households that own a digital television recorder, 83.6% of TV on a TV set in 2013 was watched live compared to 84.4% in 2012. This continues the trend of recent years which has seen the level of non-live viewing settle around the 15-20% mark.
Broadcaster VOD accounts for 2.5% of total TV viewing, according to data from Ofcom and the UK broadcasters. This small but beautiful amount will grow but it is still in its relative infancy. The average viewer in the UK watches approximately 6.5 minutes of Broadcaster VOD a day across all screens. This is based on an estimated 3 minutes, 12 seconds a day on a TV set plus 3 minutes 30 seconds a day watched on other screens, like tablets and smartphones, the majority of
which is on-demand, although some is live streamed. A major challenge for the TV industry is measuring TV viewing across all devices, but BARB is grasping the nettle and later in 2014 will begin measuring all TV viewing in the home regardless of device. So overall the average viewer watches about 6 half-hour TV shows a month via Broadcaster VOD. But this is increasing: Ofcom in its Communications Market Report 2013 found that unique programming requests for Broadcaster VOD had increased by 21% between the second half of 2011 and 2012.
As with all types of TV, the TV set is the favourite place to watch VOD. Ofcom breaks Broadcaster VOD consumption down as 42% via the TV set, 38% via PC/laptop, 12% on tablets and 9% via a smartphone. Of the non-TV set devices, tablets are the ones to watch as ownership continues to rise.
12 A year in TV 2013
How much TV are we watching? 13
01
02
04
03
TV viewed on other devices is a small part of total viewing
The TV set is the favourite place to watch VOD
Source: BARB Jan-Dec 2013 and UK broadcaster data, individuals
Source: Ofcom CMR 2013
01 Stella Sky1
Average monthly reach and time spent
02 Poirot ITV
Source: BARB, Oct 2013, 6+; comScore MMX Multi-Platform, Oct 2013, UK, 6+. UKOM Approved. Note on BARB data: includes in-home linear TV only. Note on comScore data: in Oct 2013, MMX MP for total internet included: Audience Reach for PC browsing, PC video streams, mobile browsing & apps (on-network only for untagged apps), tablet browsing & apps for tagged sites & apps. Duration for PC browsing, PC video streams, mobile browsing, tablet browsing & apps for tagged sites & apps only. Google, YouTube, Facebook and Twitter: are not tagged for their mobile or tablet sites or apps.
03 Naked And Marooned With Ed Stafford Discovery 04 Made in Chelsea E4
3 mins 30 secs
0
0 TV (streamed & on demand) viewed on other devices
TV set
Commercial linear TV
Tablet
Non-commercial linear TV
Smartphone
PC/laptop
YouTube
Total time online (Inc. VOD)
20
10
2 hr 33 mins
30
42%
40
50
Estimated share of VOD viewing by device
38%
Commercial TV
9% Individuals reached (Millions)
12%
1 hr 19 mins
Total TV
60
5
10
15
20
25
30
35
40
45
50
55
60
65
Average hours per month
70
75
80
85
90
95
100
110
120
14 A year in TV 2013
TV advertising 15
TV advertising
01
02
04
03
Investment hits all time high
Aldi
2000 1500 1000 500
Adults
25 20 15 10 5
2013
2012
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1999
0 1998
04 Wonga.com Albion
Cilla Snowball, Group CEO and Group Chairman at AMV BBDO and Chairman of the Advertising Association
30
1997
03 DFS Krow
With the technology and localisation tools now at our disposal, TV can attract a whole new raft of advertisers, driving their growth and economic recovery.
1996
02 Morrisons DLKW Lowe
16–34s What £100k buys you on TV
1995
01 Confused.com Publicis
ABC1 Adults
8
1994
Impacts (Billions)
6
1993
4
Million impacts (or views)
2
2013
Source: AA/WARC revenue figures. 2013 revenue is based on data supplied by UK broadcasters, constant 2013 prices
dfs 0
2012
Never more bang for your buck
Currys PC World
The strength of TV ad investment reflects commercial TV’s expansion and the acknowledgement of the evidence of its unrivalled ability to create business profit. This is also reflected in the fact that there were 737 new or returning advertisers to TV last year (returning after no TV advertising for at least five years). Notable new investors were Holiday Inn, Vitabiotics and Ricola. Together, new or returning advertisers accounted for 2% of total TV ad revenues, according to Nielsen. The AA/WARC forecast that in 2014 the ad market will reach £18.8bn (up 5.3%), with TV forecast to outpace the market with growth of 6.7%.
2011
0 2010
Morrisons
2500
2009
ASDA
3000
2008
The true way to evaluate any marketing investment is to look at profit and value. But for those interested in cost as well as value, TV advertising prices in 2013 were the cheapest in real terms on record, some 38.5% cheaper than 20 years ago.
3500
2007
Confused.com
4000
2006
Sky
TV advertising had a very good 2013. Revenue in 2013 totalled a record £4.63 billion (gross of agency commission), up 3.5% on the equivalent figure in 2012, which itself was a record year. This figure represents all the money invested by advertisers in commercial TV: linear spot and sponsorship, Broadcaster VOD, and product placement.
4500
2005
Comparethemarket.com
5000
2004
Wonga
Includes Broadcaster VOD
2003
Trivago
Source: Advertising Association Expenditure Report 2000-2012; 2013 data supplied by the UK broadcasters. Note: Figures are at current prices and gross. Revenue includes TV spots, sponsorship and product placement (Broadcaster VOD from 2011)
2002
TV broadcast views
Growth in total TV revenue
2001
Source: TechEdge – ratecard weighted commercial impacts according to BARB reporting Jan–Dec 2013
2000
This investment is only a part of the contribution advertising makes to the UK economy. Following its first ‘Advertising Pays’ research with Deloitte, which showed that advertising contributes £100bn to total GDP, the Advertising Association published a second study in January 2014 which showed the huge opportunity for growth in UK advertising from SMEs, which currently account for 50% of jobs, 40% of turnover but only 18% of ad spend. TV advertising can and should play a significant part in this.
The most-viewed TV advertisers in 2013
£000,000’s
Long-term TV advertisers, together with hundreds of new or returning brands in 2013, helped make it a record year for TV advertising spend, and forecasts suggest that 2014 may be even better.
16 A year in TV 2013
Sky News Sky News HD
Trends & Innovation 17
Trends and innovation
Even closer to content 19
18 A year in TV 2013
Even closer to content In the three years since product placement was first allowed in UK TV programmes, the ways in which brands have collaborated with broadcasters to get closer to content have evolved at a dramatic pace. Advertisers and broadcasters are working closer together than ever to create entertaining, engaging, content-led campaigns which put brands at the heart of TV programming. Content-led initiatives, which still perform very well as standalone items, now more often than not act as a hub for an incredible range of integrated activities. These include combinations of sponsorship, advertiser funded programming, advertorials, interactive content, competitions and promotions, licensing, televised branded events and product placement. Association or co-creation is incredibly appealing to advertisers; it gets to the heart of programming and therefore the audience. And the combination of TV content with brands is becoming more and more important in a multi-platform world as the TVrelated content that people want becomes even easier to access or easier to share and talk about.
Advertisers and broadcasters are working closer together than ever to create entertaining, engaging, content-led campaigns which put brands at the heart of TV programming. It feels like 2013 was a tipping point in terms of the ambition behind contentled campaigns. Here are some recent examples to inspire you:
TRESemmé and Next Top Model on Sky Living Over the course of three years TRESemmé has product placed, sponsored and activated its partnership with Next Top Model on Sky Living. In-show they have placed product both physically and digitally, and included TRESemmé brand challenges which feature the brand credentials on set in various
01
02
03
04
05
06
07
01 TRESemmé and Next Top Model Sky Living
05 Pepsi Max and Dynamo Watch
02 Iceland and I’m a Celebrity, Get Me Out of Here ITV
06 Kellogg’s MiniMax and Breakfast Break Boomerang
03 Despicable Me 2 Sky1
07 Comparethemarket.com and Coronation Street ITV
04 What’s Cooking from the Sainsbury’s Kitchen Channel 4
ways. The production company also created bespoke ‘Get the Look’ online tutorials on how to emulate the hairstyle of each episode and built year on year the partnership via on-pack competitions, experiential marketing and Grabyo second screen social media. Research revealed the brand had earned viewer permission to ‘do more’ with the show each year and the association was highly effective in changing brand perceptions.
Iceland and ITV’s I’m a Celebrity… Get Me Out of Here This multi-platform partnership has been going for eight successful years. In 2013 it included: jungle themed promotions in-store and on staff uniforms, plus dedicated social media, along with a bush tucker game for the family to enjoy at home, which brought the sponsorship to life and continued to maximise the association.
Despicable Me 2 and Sky 1 This partnership included sponsorship of The Simpsons, Futurama, Micro Monsters, The Middle and Glee for a month in the run up to the release of Despicable Me 2. Idents were created using the Minions from the film causing chaos and ‘disrupting’ the Sky1 logo. The URL www.sky.com/dm2 appeared on the idents and drove viewers online to a hub housing games, trailers, film information and a competition.
What’s Cooking from the Sainsbury’s Kitchen on Channel 4 This advertiser funded programme, broadcast from a purpose built interactive studio at a Sainsbury’s store with a live studio audience, featured an interactive element as the audience at home were encouraged to ask questions via social media platforms Twitter and Facebook. Along with celebrity guests, wellknown chefs joined the programme to cook up delicious recipes suitable for all budgets and tastes.
Sainsbury’s products were used within recipes featured in the show, branded products appeared on in-show recipe graphics and Sainsbury’s branding featured within the programme’s title sequence, credits and on cue cards held by presenters Ben Shepherd and Lisa Faulkner.
Pepsi Max and Dynamo on Watch The partnership included the Pepsi logo inclusion on Dynamo promos, credit on Dynamo idents and bumpers, a Pepsi/Dynamo bus PR stunt and Dynamo on pack promotions.
Comparethemarket.com and Coronation Street This was more than just a programme sponsorship as the Street was ‘twinned’ with Meerkovo. The partnership included launching the sponsorship by giving the programme’s theme tune a Russian makeover; an interview with Aleksandr on This Morning about his love of Corrie; Corrie tributes in the sponsorship idents filmed on
the actual set with the meerkats re-enacting key scenes; and tweeting (meerkats sent friendly tweets at important moments and the Corrie cast tweeted about the official meerkat visit to the Street).
Kellogg’s MiniMax and Boomerang Kellogg’s wanted to introduce their new tagline for MiniMax – ‘Bring on School’ – and drive sales. Turner created a fully integrated package that included sponsorship of Breakfast Block on Boomerang, a sponsored channel ident, and a Mini Max microsite which hosted top tips on nine popular school subjects. For every subject they visited, users earned a gold star; once they had all nine stars they could enter the competition to win a mini iPad.Kellogg’s asked econometrics experts Data2Decisions to evaluate the deal which showed that the return on investment was £3.25 for every pound spent.
20 A year in TV 2013
Screen life: Tv in demand 21
‘Screen Life TV in demand’ – why do we watch VOD?
In 2013 Thinkbox commissioned two research companies – Flamingo and Tapestry – to look into how people watch TV, whether live or on demand. We wanted to find out why people were watching VOD and how that differs from and adds to linear viewing.
VOD EXCELS AT SATISFYING PERSONAL APPROACHES TO TV VOD is specifically good at satisfying indulging and escaping, but it is less equipped for more social needs such as unwinding and seeking comfort. This is supported by the finding that for 54% of the occasions we watch live TV we’re with someone else compared to 30% for VOD. And for viewers who want to connect and feel like they are sharing a TV experience with the outside world, then live TV was judged by far the best way.
The research sample was more technologically advanced than average. All respondents owned a smartphone and 46% owned a tablet. Crucially the sample was also composed of heavy VOD viewers with 74% of the sample watching VOD at least once a week. This compares with the 52% of the UK who has ever watched VOD, according to IPA Touchpoints data.
The study explains why, in an era when people can choose to watch what they want when they want, the UK continues to watch live TV 90% of the time: the live TV experience satisfies human emotional needs that on demand viewing alone can’t (see graphic opposite).
‘What’s on’ is first port of call Even among the heavy VOD viewers in the research sample, 60% typically checked what was on the live TV schedule first before considering other options.
The TV set rules The TV set is overwhelmingly the preferred way to watch, whatever the reason people are watching. This is especially true of TV for comfort or to unwind, where at least 90% is watched on the TV set.
The further away people go from live TV, the less likely it is they are watching on a TV set. Only 5% of social video –
such as on YouTube – was watched on a TV set, compared to 62% on a PC, 11% on a tablet, and 22% on a smartphone. It is also less likely they are watching with someone else: only 19% of social video was watched with company compared to the 54% of live TV that is watched with other people. Social video is also watched in different locations: 34% in the living room, 56% in another room, and 10% out of home. For VOD this place-shifting is evident but less pronounced with 51% of viewing in the living room, 43% in another room, and 6% out of home.
The Six need states of tv viewing Unwind Is about deferring the pressures or de-stressing from the pressure of the day with something to soothe us.
Personal INDULGE
Content The study involved the analysis of over 100 hours of footage from 18 households from across the UK for two weeks. It also involved a diary study of 662 adults, across 3,692 viewing occasions providing 250,000 data points for analysis.
Research Findings: six reasons we watch TV
Live TV is almost exclusively watched on a TV set, however, in the study’s heavy VOD-viewing sample, VOD was split across different screens: 37% was watched on the TV set; 45% on a PC; 14% on a tablet; and 4% on a smartphone.
Young people are happy to wait (so they can share) Connecting was the most common reason to watch TV for 18–24s. 28% of their viewing was in order to connect – almost double the average from the research sample (15%). When given a choice between having the option to download a new series they liked in one go or waiting to watch it week by week on live TV, 73% of 18–24s in the research sample said they prefer to watch it week by week. This was more than the older audience of 35–55s (57%).
We’re going to see real use of mobile as a commercial tool to unlock TV as the new point of sale Sue Unerman, Chief Strategy Officer at MediaCom
UNWIND
ESCAPE EXPERIENCE
COMFORT
CONNECT
Context
The study, ‘Screen Life: TV in demand’, was described as a ‘breakthrough’ by Campaign magazine and revealed the key differences between watching TV live and VOD and between different types of VOD. It also explained why live viewing continues to thrive alongside VOD.
TV remains rooted in the living room but new devices enable ‘place-shifting’
Comfort The need for shared family time; we seek togetherness, rituals, familiarity and routine. Connect The need for a sense of ‘anchoring’ – to feel a sense of connection to society, to time or to place.
Social
Experience The need for fun, energy and a sense of occasion. Experiences create the glue that can bind families and friendships together. Escape The need to leave the ‘everyday’ behind. Programmes act as portals to another time and place entirely. Indulge Is about the need for me-time; it’s about satisfying your (typically guilty) pleasures with your truly personal favourites, usually alone.
VOD EXCELS AT MEETING THE ESCAPE NEED STATE The study showed that there are some important need state differences when VOD is compared to live TV. VOD is about delivering great content when you want it, therefore the content-based needs – and Escape in particular – are much more likely to be met by this platform; at the expense of context-based needs like Unwind, Comfort and Connect. Because VOD doesn’t meet the full spectrum of needs in the way live TV does, it’s not a replacement for live TV but a ‘boost’ when you need it.
Live TV
23%
VOD
41%
21% 18%
11%
18%
14%
19%
15%
8%
8% 3%
22 A year in TV 2013
Screen life: Tv in demand 23
01
02
03
The power of TV is actually increasing in the personalised digital age, technology is liberating great content to more people in more places more often. Phil Georgiadis, Chairman of Walker Media
Match the ad to the need The study found that congruent advertising (where the ad creative matches the need state of the viewer) can help advertisers maximise the effectiveness of their campaign – a finding which supports previous studies into congruence. Matching the category or brand, tone and message to the predominant need state of the audience will increase response, especially if this also suits the device being used – for example: advertising a luxury car, something aspirational and special, would fit well with viewers in an escape need state; an ad for something indulgent, something ‘naughty’ – such as Pot Noodle or a chocolate brand – would function well for viewers in an indulge need state. Since live TV satisfies all the need states identified by the study, a wide range of narrative styles and advertisers will fit. Since VOD excels at heavily content-based need states, and is often used on other devices, advertisers need to be more cautious and must work hard to make their ads acceptable, whether through creativity, relevance or congruence.
04
Live TV is food, VOD is chocolate One other finding from the study came when we deprived people of live TV for four days. Beforehand they were confident they could easily live without ‘normal telly’ and feast solely on on-demand. But, once live TV was gone, these people quickly realised how much they missed it. People who claimed they only needed ondemand quickly realised they didn’t. One reason for this is that when you make an active choice to do something – like search for and watch something on 4oD or ITV Player – it is easier to remember. Relaxing on the sofa, browsing the EPG and choosing something you fancy is less memorable, but no less important in terms of how we enjoy TV. Like electricity and running water, live TV is something we all take for granted; only by losing it do we start to realise how vital it is. VOD is like a box of chocolates, a highly enjoyable treat; live TV is our regular daily food that we couldn’t live without.
01 Undateables Channel 4 02 Anchor CHI & Partners 03 Downton Abbey ITV 04 EE Saatchi & Saatchi
24 A year in TV 2013
Key TV marketing moments of 2013 25
01 Alan Carr: Chatty Man Channel 4 02 British Heart Foundation, Hard Men Grey 03 This Morning ITV
Courtesy of Sharp. It’s a huge 90"
TELEVISION HAS ENTERED A ‘NEW GOLDEN AGE’
BRITAIN’S GOT TALENT ACHIEVES THE HIGHEST COMMERCIAL AUDIENCE OF THE YEAR
CHANNEL 4 OFFERs DEMOGRAPHICALLY TARGeTTED AD PACKAGES ON 4oD
Sky extends their on-the-move service, to include Channel 4 and More 4 linear channels, in addition to on demand catch-up TV
The British Heart Foundation working with PHD, Drum and Grey London
UKTV LAUNCHES CATCH-UP SERVICE WITH YOUVIEW
New commercial data initiative offering advertisers TV buying audiences on 4oD for the first time
Subscribers can access content from Dave, Yesterday and Really on-demand through their set-top boxes
AND THE GUARDIAN EDINBURGH INTERNATIONAL TV FESTIVAL CHANNEL OF THE YEAR AWARD GOes TO… ITV, who also picked up the New Programme Award for Broadchurch
SKY LAUNCHES NOW TV SET TOP BOX Capable of streaming a range of services including Sky channels, iPlayer, Spotify and Demand5
Jul
UKTV channel Dave, launches a new app enabling users to watch shows on an iPad or iPhone
The Advertising Association and Warc change their methodology for reporting ad revenues to credit online revenues to parent media
AND THE THINKBOX TV PLANNING AWARD GRAND PRIX GOES TO…
JUN
CHANNEL 4 ON SKY GO
…and will not be shifting significant spend into digital channels, according to their Chief Executive, Gavin Darby
AD REVENUE REPORTING CHANGES
MAY
DAVE OD APP HITS iPad AND iPhone
PREMIER FOODS IS ‘UNASHAMEDLY STICKING’ WITH TV
APR
Jan
Sky Go Extra allows customers to download TV content wherever they are
At the British Arrows
MAR
SKY LAUNCHES SKY GO EXTRA
Making it No.3 on US TV’s list of all-time-mostwatched programs
Feb
Extending across its broadcast channels, online and on-demand
‘MEET THE SUPERHUMANS’ WINS TV AD OF THE YEAR
Cartoon Network scoops two awards at kids BAFTAs
According to screen legend Kevin Spacey.
02
SUPER BOWL 2013 ATTRACTS 108 MILLION VIEWERS
Estuary TV in Grimsby is the first to launch
03
17.4 million tuned in
ITV LAUNCHES REBRAND
That’s a long time at the helm of daytime TV
04
Adventure Time name best international show and The Amazing World of Gumball lands best writer award
BARB EXPANDS TV AUDIENCE MEASUREMENT BARB announces that it will report census data for TV viewing for all computer devices, including tablets
CHANNEL 4 LAUNCHES A NEW SECOND SCREEN APP – 4NOW
ITV LAUNCHES AD EXPLORE: A NEW SUITE OF INTERACTIVE VOD FORMATS
A dedicated aggregated app to accompany its channels and programming
Enables advertisers to offer viewers entertaining and playful brand experiences, information, and drive response
ENTERTAINMENT TV ON NOW TV Sky’s Now TV launches its Entertainment Month Pass, giving access to top entertainment channels on a payas-you-go basis
VIRGIN MEDIA LAUNCHES TV ANYWHERE APP Subscribers can now watch live television or recorded programs on their Android devices
FREETIME LAUNCHES ON FREESAT
WORLD TELEVISION DAY
Includes catch-up TV from BBC iPlayer, ITV Player, 4oD and Demand 5. YouTube is also available as an app on the service
An annual event by the United Nations to recognise TV’s crucial role in society to inform, educate and entertain
BATTLE OF THE CHRISTMAS ADS – THE UK SUPER BOWL… John Lewis, M&S, Sainsbury’s, Waitrose, Lidl & Morrison’s to name but a few, all vying for Christmas glory
CHANNEL 4’S VIEWER DATABASE REACHES 10 MILLION REGISTERED USERS Providing fertile ground for new advertising innovations via its 4oD video on demand service
dec
Game of Thrones, Made in Chelsea, Alan Carr, Girls, All in the best possible taste with Grayson Perry & Hillsborough – The Truth at Last, amongst others
Estuary Tv heralds the arrival of new local tv franchises
nov
LARGEST TV SET IN EUROPE GOES ON SALE
ITV’S THIS MORNING CELEBRATES 25TH ANNIVERSARY
oct
AND THE BAFTAS ARE AWARDED TO…
Content includes Premier League football, Premiership rugby, and European football
sep
01
04 Marks & Spencer, Magic and Sparkle Rainey Kelly Campbell Roalfe/Y&R
BT SPORT LAUNCHES NEW TV CHANNEL
aug
Some key TV moments of 2013
26 A year in TV 2013
AD NATION 27
Ad nation Work in advertising? Think you’re normal? Well, you’re not and our Ad Nation research proves it. Yet the ad industry is meant to be expert at understanding all people and general consumer behaviour. So is it? Or does it see the world refracted through its own particular prism?
Ad Nation looked at how the lucky people who work in adland compare with ‘normal’ people in the UK. Together with Ipsos MORI we looked at a host of things including technology ownership, perceptions of media and advertising, and media consumption. The results were illuminating.
Adland is obsessed with social media You already knew this. If you work in advertising you’ve probably checked Twitter and posted a selfie on Instagram at least once while reading this. But it is worth having the figures for perspective (see right).
Adland owns more technology Technology is a professional interest for the adlander, but it is also a private passion too. Media folk are early adopters – Soho will no doubt soon be dripping with Google Glass and other ‘wearable’ tech – but the country, by definition, is not. So it was not surprising to discover that adland is more tooled up than average (see right).
Ad people are hopeless social media addicts Source: TV Nation: 2013 Ipsos Media CT/Thinkbox. Question: Which websites have you visited in the last 3 months?
‘Ad’ people
84%
‘Normal’ people
46%
YouTube
90% 72%
87%
LinkedIn 31% 23%
Instagram Pinterest
100 90 80 70 60 50 40 30 20 10 0
44% 17% 10% 6% 2% 0 10 20 30 40 50 60 70 80 90 100
Adland loves tech Source: TV Nation: 2013 Ipsos Media CT/Thinkbox. Question: Which of these items do you have in your household?
‘Ad’ people
‘Normal’ people
94%
Laptop
94%
Smart phone 60% 72%
100 90 80 70 60 50 40 30 20 10 0
Consoles Tablet
64% 51% 33% 24% 0 10 20 30 40 50 60 70 80 90 100 Mad Men Sky Atlantic
28 A year in TV 2013
AD NATION 29
Source: TV Nation: 2013 Ipsos Media CT/Thinkbox. Question: And which of these do you think gives you the best viewing experience, for watching your favourite TV programmes?
‘Ad’ people
‘Normal’ people
Estimated minutes of online use per day
5 hr 45 mins
90%
88%
80%
4 hr 5 mins
70% 60%
40% 30% 20% 10%
3%
8%
0% TV set
PC/ desktop
0%
3%
Tablet or phone
2%
1%
Online use is massively overestimated
A group packing such an arsenal of technology has many ways to watch TV and Ipsos found that it uses them, or at least claims to. On average, 67% of the UK claims to only watch TV on a TV set but in adland this is only 15%. Quite right too: adland is supposed to be across the whole thing. But it is worth remembering the audience largely isn’t.
Probably the most illuminating part of the research was asking adland and the nation to estimate media consumption. The results underlined why estimating media consumption is dodgy ground – especially when we have actual measurement by bodies like BARB and UKOM. Estimates for radio and newspapers were pretty accurate, and TV was lower than actual levels but not absurdly so. But the most incredible difference in perception and reality came when asked to estimate time spent online. UKOM tells us the average person spends 1 hour 27 minutes a day online. Adland reckons people spend nearly 6 hours a day doing things online! The nation as a whole isn’t much better, thinking it spends 2 hours, 45 mins a day (see above).
01 Honda McGarryBowen 02 IKEA Mother 03 Robinsons BBH 04 Marvels Agents of S.H.I.E.L.D. Channel 4
Normal people’s self estimate Ad people’s estimate of normal people 03 05
Games console
Ad people are not the typical tv viewers
However, though adland may try other screens for TV, when asked which one it prefers, the answer was the same as the nation at large: the biggest one. This seems reasonable: adland wants its creative efforts to look as beautiful as possible. A Sony Xperia is a wonderful thing, but a screen for lapping up beautifully shot, emotive advertising it is not.
Ad people’s self estimate
Actual data (ComScore) 2 hr 45 mins
50%
03 02
Source: TV Nation: 2013 Ipsos Media CT/Thinkbox. Question: In an average day, approximately how much time do you spend doing the following activities? (minutes) Estimate of consumption by the British public aged 15+; comScore MMX Multi Platfrom April 2013
100% 92%
01
1 hr 27 mins
Screen of choice is the biggest one
Another discrepancy was how much TV is watched on other devices. Both adlanders and the nation as a whole
estimated that they watched around 15% of their TV on things like laptops or tablets. When adland estimated the average for the country they thought it was higher than themselves at 25%. But the actual average is just 1.5%, according to data from the broadcasters.
The nation’s favourite advertising We won’t dwell too much on what adland thinks about advertising other than to say that the country and the industry agree on its favourite form of advertising and they agree that it is the best for a whole host of things, including sticking in your memory, making you famous, making you laugh, being trusted, and encouraging you to purchase a new product. In fact, for almost every metric Ipsos asked about, TV advertising (you guessed it) outperformed the rest.
04 09
30 A year in TV 2013
brainboxes 31
Brainboxes
Regular Show Cartoon Network
32 A year in TV 2013
30-second spots 33
30-second spots OK, we’re slightly partial, but it is hard not to agree that 2013 was a fabulous year for TV and that 2014 could be even better. Here some of the brightest brains in advertising give their views on the highlights of the last 12 months and what to look forward to in the year ahead.
Sue Unerman Chief Strategy Officer at MediaCom 2013 was an exciting year for television, not least because of its continued strength in the face of now tired sounding predictions from pundits about the distraction of viewers into other forms of entertainment. Even teenagers continue to watch, on average, pretty much as many minutes every day now as they did a decade ago. The great mass market of housewives is in fact watching more TV now than they were a decade ago. TV programming has been reinvigorated, there’s more saved on my Sky+ box at the moment than ever, and we really are in a new golden age. In terms of new developments, we’re going to see real use of mobile as a commercial tool to unlock TV as the new point of sale, with mobile as the second screen to accompany viewing or with mobile as the first screen to allow primary viewing in other locations – or in the main TV room but of alternate channels. We know teenagers sometimes sit in the main TV room with their families for company, but watch their
mobile instead of the main screen, and I’ve seen men at weddings, and indeed at funerals, sneak a peak at the football while they’re supposed to be making polite conversation. The TV viewer is provided for, wherever and whenever they want to watch but advertisers are still only starting to experiment with exploiting this. I’m very excited about the use of data too to refine and redefine how we see viewers and turn them into customers. Roll out more data, the sooner and the bigger the better. Adsmart, Sky IQ, programmatic buying and the rest herald seismic change in the sector for the benefit of advertisers. Favourite ad I had nothing to do with: Virgin Atlantic Superpowers advert. The reason I like this is that employees are a massive part of any brand’s target market, especially in a service sector, and this must have appealed to them. I also think we could run a similar advert about people who work at MediaCom.
01
02
Phil Georgiadis Chairman of Walker Media Commenting on the TV medium doesn’t require a lot of background research for most. TV remains for most of us at the heart of cultural life, family life and personal entertainment, even if for a small minority this sounds unpalatable. I continued to enjoy a blend of UK reality shows and American mini-series in spite of being warned that they would wane in popularity. But the highlight last year was ITV’s homegrown Broadchurch. And I really hope that it will be my highlight in 2014 as well. It reminds me that great TV drama that brings people together for a shared experience isn’t simply what soaps and reality shows offer. Now you can have that shared experience on your own, watching on a
tablet and commenting on Twitter. So the power of TV is actually increasing in the personalised digital age, technology liberating great content to more people in more places more often. And all we need now is the creativity in the shows to be matched in the ad breaks with bolder, more differentiated strategies finding new models for how TV advertising can work to great effect. Favourite ad I had nothing to do with: Schwartz flavour shots. Gets approval from my wife and daughter and I can see why. Goes into top place for this year so far. Not epic but brilliantly shot and communicates the product proposition perfectly.
Cilla Snowball Group CEO and Group Chairman at AMV BBDO and Chairman of the Advertising Association 2013 was a brilliant and busy year in TV advertising because so many new and creatively dramatic things happened. A new channel, a new proposition, a new campaign and a new advertiser was born in BT Sport, a launch that dominated our year at AMV BBDO. A raft of amazing new campaigns arrived, that not only dominated the medium in each case, but travelled seamlessly through all media, proving the value of a big insight, executed in a powerful idea, effective everywhere, in every medium, traditional and digital. Big, blockbuster campaigns like 02’s Be More Dog, Sainsbury’s Christmas in a Day and Marmite’s Neglect emphatically proved the oft-quoted principle of the “power of ‘and’ over the tyranny of ‘or’”. These show TV advertising working effortlessly and powerfully across screens of all shapes and sizes and so, for sure, will be the IPA Effectiveness Award winners of the future.
We’re excited about the potential to do a host of new and amazing TV things in 2014 with time length, VOD and multiscreen. And, at a macro industry level, we’re also excited about the affordability of the TV medium to attract new advertisers, particularly the SMEs who are so vital to economic growth but so under-represented as advertisers. With the technology and localisation tools now at our disposal, TV can attract a whole new raft of advertisers, driving their growth and economic recovery. Favourite ad I had nothing to do with: The freeze frame road safety ad from Colenso BBDO for the New Zealand Transport Agency. It shows the devastating consequences of speeding in a world-class TV commercial that will undoubtedly save lives as well as clean up at awards.
01 Virgin Atlantic Rainey Kelly Campbell Roalfe/Y&R 02 Schwartz Grey
34 A year in TV 2013
30-second spots 35
Sarah Leach Connections & Media Director for North West Europe and Nordics at The Coca-Cola Company I am a big fan of TV – both personally and professionally – and a big sceptic of over-thinking targeting or over-playing data solutions. So perhaps it is no surprise that I was blown away by Gogglebox. On a personal note I loved seeing real families of all shapes and sizes reacting together to great TV content and seemingly proving that real men do in fact cry (quite often); professionally I was reminded of the captivating storytelling power of TV and its ability to move the nation. On a different note I’ve also finally come to terms with the ‘long tail’; the ‘what I want when I want it’, more personal on-demand nature of viewing. Living with more screens than I can count – most of which are portable (and having already lost the
02
03
04
3D glasses and more headphones than I care to think) – I’m no longer so worried about if all ratings are created equal and ‘is a rating still a rating if it is on channel x or time delayed by y’ question. Perhaps I’m getting soft in my old age! In 2014 I’m looking forward to the World Cup, whatever is done next with Saturday night TV, and real physical interaction between me and my screens (if only I can find my phone). Favourite ad I had nothing to do with: It seems animals are still heroes. Perhaps I’m missing the Guardian’s 3 Little Pigs but O2’s Be More Dog and Three’s Dancing Pony made me smile.
Peter Duffy Marketing Director, Easyjet TV continues to evolve and adapt to changing consumer tastes and technologies with surprising ease. On the one hand we’ve seen the continuing popularity of big mainstream primetime TV shows like Broadchurch, Downton and Celebrity. TV’s ability to bring mum, dad and kids together in front of a box on a Saturday night has defied doom-mongers for many years and will continue to do so; something that advertisers seeking to change brand perceptions will continue to value. At the same time we’re seeing rapid changes in how people use technology to view content, whether this be on tablets (50% of the population now have access to one), via the on-demand players like Netflix or the soon to arrive Chromecast plug-in. Broadcasters may be having some interesting battles for audience and revenue between each other but the industry as a whole is still producing fantastic content and
01
Nick Gill Executive Creative Director at BBH using these new channels to deliver content in ways that our customers want. At Easyjet we’ll be looking for TV to help us make the most of our customer segmentation work, and it’s this ability to deliver big broadcast messages and also highly targeted geographical and behavioural ones that will mean telly is a long term structural winner in the media market. Favourite ad I had nothing to do with: John Lewis and O2 were probably the creative driving forces of 2013, resulting in ad breaks strewn with derivative commercials, often featuring dogs. John Lewis, in particular, did a great job of linking the TV idea through to in-store but both brands showed how strong insight plus brave client plus creative brilliance plus TV is a pretty successful formula for increasing brand love. I anticipate a strong cat backlash in 2014.
One of the great challenges with broadcast TV is that whilst you can capture people’s imagination in 30 seconds a shared experience doesn’t always turn into a tangible response. What’s exciting about VOD is not only can you accurately target your audience via whatever they’re watching but they are literally one click from purchase or a social media feed.
of hugely popular YouTube classics with endless comedy animal films. But what’s interesting about the success of Dove Sketch out of Sao Paulo, for instance, is that it became the most downloaded film in advertising history BECAUSE it delivered such a deeply profound and thought-provoking message.
Advertisers need to open their minds to these kinds of opportunities. And the really exciting news is – guess what? – our films need to be even more impactful to keep up.
What I’m saying, I think, is that just because technology is making TV increasingly snackable and playful it doesn’t mean we have to dumb down our creative product. I want creative out of BBH that performs hard by stretching the imagination, not shrinking it.
I thought TV advertising in the UK enjoyed an okay year, last year. As global brand messages become more homogenised it’s easy to see why we end up with so many vignette-based mood films. And I can sort of understand advertisers wanting to emulate the success
Favourite ad I had nothing to do with: Although there was lots of good work last year, I don’t think we had a ‘Meet the Superhumans’ or ‘Three Little Pigs’.
01 O2 VCCP 02 John Lewis Adam & Eve/DDB 03 3 Wieden & Kennedy 04 Dove Ogilvy & Mather Sau Paulo
36 A year in TV 2013
A golden age of tv 37
A golden age of TV Without the amazing programmes that our commercial broadcasters invest in, TV would not be the supremely effective advertising medium it is. Here we hear from the programme chiefs on their 2013 highlights and what to look forward to in 2014.
Peter Fincham Director of Television, ITV
Jay Hunt Chief Creative Officer at Channel 4
Home favourite: Broadchurch. An eight-part series following a single crime, Broadchurch was the most talked about drama of the year, and we couldn’t have been prouder to have it on ITV. It had a fantastic cast, stunning direction and masterful storytelling. Chris Chibnall’s series is a powerful example of the rewards that can be reaped by backing creative talent.
Home favourite: My favourite has to be Gogglebox largely because the chances of it working were remote and it’s a classic example of Channel 4 backing an innovative idea and delivering a hit. It’s a brilliant, entertaining show but it also offers a rare insight into British taste and attitudes.
Away favourite: Game of Thrones. People kept telling me how brilliant it was, but I never fancied it – that medieval ‘smoke and castles’ thing has never done it for me. But I finally succumbed and watched it from beginning to end and it was just as good as they said it was! Looking forward to… We have The Great Fire of London written by Tom Bradby coming later this year, which I’m really looking forward to. It’s a big, ambitious period piece dramatising the fire in 1666, told from the point of view of four central characters of different class and stature, so a broad sweep of London life in the 17th century.
Away favourite: I am a big Ruth Jones fan and admire the warmth of Stella. Looking forward to… I am excited about Paul Abbott returning to Channel 4 with a bold new drama – a police procedural with all the wit and attitude of Shameless. The scripts already have his hallmark dark humour.
Game of Thrones Sky Atlantic
38 A year in TV 2013
A golden age of tv 39
01
02
03
01 Crackanory Dave 02 Broadchurch ITV 03 Gogglebox Channel 4
Emma Tennant Controller of UKTV Home favourite: Crackanory on Dave was a simple idea brilliantly executed by Tiger Aspect for Dave last autumn. Harking back to our childhood and the affection that we feel for Jackanory but giving the show a Dave sensibility proved a real hit for us. Each episode featured two 15-minute stories with specially commissioned scripts from some of the best comic writers in the UK and read by some of the highest calibre on-screen talent such as Jack Dee, Harry Enfield, Jessica Hynes and Sarah Solemani. The storytelling was augmented with both live action and animation which allowed us to bring the stories to life in fresh and innovative ways and meant that the writers could have real creative freedom. The series was funny, dark, engaging, looked fabulous and it was also wonderful to be read to – it took me back to my childhood again! Away favourite: Gogglebox on C4. When you read the premise you think that this really could be a very dull watch but this show is precisely the opposite. Who would have thought watching people watch telly would be so compelling, at times moving, sweet and at times-laugh-out loud funny. The show has been brilliantly cast
so you get to know the characters and look forward to their reflections and reactions to last week’s TV. It also has a warmth that brings you into this community of TV watchers. However I have still not dared to play the game of drinking along with Stephanie and Don (the posh couple) that a friend told me about – I don’t know if I’d make it to the end of an episode!! Looking forward to… Believe on Watch is a new show from Alfonso Cuaron and JJ Abrams which is due to premiere in the US in early March and will transmit on Watch soon after. It is about a young girl, Bo, with unexplained powers – including telekinesis, the ability to control nature and to see the future – who is paired-up with a wrongfully imprisoned death-row inmate as her protector. They are on the run travelling from city to city trying to escape those who want to try to capture Bo and use her power for their own ends. The young actress at the centre of this drama is mesmerising and although the series has elements of sci-fi, fantasy and adventure there is a real warmth at its heart that gives it greater breadth.
Stuart Murphy Director, Entertainment Channels at Sky
Sean Gorman Director, Kids Channels, UK at Turner Broadcasting
Home favourite: I loved The Tunnel on Sky Atlantic. It felt complicated, funny and had scale, and marks the minimum quality requirement of our original dramas. It also was the first time I had seen a bilingual drama feel effortless, if I’m honest.
Home favourite: I love Regular Show on Cartoon Network, it’s very funny! The writing is excellent and the characters are great. It follows the daily lives of two friends, a Blue Jay (Mordecai) and a Racoon (Rigby) who work as groundskeepers at a park where they spend all their time messing around trying to get out of doing any actual work!
Away favourite: I thought Educating Yorkshire was possibly the best programme of the year on other channels. It wasn’t just about a school – it said something about Britain, and friendship and what it is like to be in Britain nowadays. It also felt heroic. It was must see drama for me and my kids. Looking forward to… This is the biggest year for Entertainment at Sky so there are loads of shows I am obsessing about at the moment. Perhaps the biggest and the one already attracting huge buzz is Fortitude, our epic Icelandic thriller starring Stanley Tucci, Sophie Grabol and Michael Gambon. It is the biggest show we have ever commissioned and so far so good. Coming to Sky Atlantic this Autumn.
Away favourite: I really enjoyed Broadchurch. I love Olivia Colman and thought her performance was fantastic. The ‘whodunnit’ storyline kept me hooked week to week. As audiences expect more and more TV ‘on-demand’ it was a really great example of appointment-to-view TV. Looking forward to… I’m really looking forward to the premiere of The Tom & Jerry Show on Boomerang. Tom & Jerry is one of Boomerang’s most popular shows and appeals to all the family so to have a brand new series is very exciting. It’s heart that gives it greater breadth.
40 A year in TV 2013
Awarding TV Excellence
awarding tv excellence 41
Dynamo Channel 4
42 A year in TV 2013
creative greatness 43
Creative greatness
04
05
TV is the home of advertising creativity and Thinkbox honours the UK’s world-beating creative talents with The Thinkboxes, our creative awards scheme celebrating the best of TV advertising in all its forms.
01
January / February MacMillan Ad: Not alone Client: Carly Wilson Agency: VCCP Creative team: Katie Welch, Neil Shanlin Director: Barney Cokeliss
July / August Marmite Ad: Neglect Client: David Sandall Agency: Adam & Eve/DDB Creative team: Nick Sheppard, Tom Webber Director: James Rouse
Shortlist Anchor: The life of our kitchen IKEA: Make room for your life Kronenbourg 1664: A taste supreme Virgin Atlantic: Flying in the face of ordinary
Shortlist Barclays: Thank you Honda: Hands O2: Be more dog Skoda: vRS it up
March / April Three Ad: The pony Client: Margaret Burke Agency: Wieden & Kennedy Creative team: Dan Norris, Ray Shaughnessy, Freddie Powell, Hollie Walker Director: Dougal Wilson
Creativity isn’t a luxury; it is at the heart of advertising effectiveness: creatively awarded ad campaigns are at least 10 times more efficient at building market share, according to IPA research.
06
02
The Thinkboxes are held in association with Haymarket Brand Media and the winners in 2013 showcased a wide range of ways in which TV advertising grabs our attention and our emotions. They showed us how great creativity can make us think, cry, laugh…and act. The awards are judged by the Thinkbox Creative Academy, which votes for its top three ads from a shortlist of five. The Academy is a body made up of over 250 senior people from the advertising industry, all of whom have won awards for their TV advertising work. Craig Inglis, Marketing Director of John Lewis, and Nick Gill, Executive Creative Director of BBH, are the joint Academy Presidents. This joint Presidency symbolises the partnership between advertiser and creative teams required to bring about the best in creativity.
The 2012-3 Thinkboxes were awarded to:
01 Macmillan VCCP 02 3 Wieden & Kennedy 03 VW Adam & Eve/DDB 04 Marmite Adam & Eve/DDB 03
05 Eurostar Abbott Mead Vickers BBDO 06 Sainsbury’s Abbott Mead Vickers BBDO
Shortlist IKEA: Time for change Lurpak: Weave your magic Samsung: Charge Somersby: The Somersby store May / June Volkswagen Ad: Baby Client: Kirsten Stagg Agency: Adam & Eve/DDB Creative team: Nikki Lindman, Toby Brewer Director: James Rouse Shortlist Cesar: Love them back Robinsons: Pals Strongbow: Moment of truth Tango: Argh!
September / October Eurostar Ad: Maybe Client: Lionel Benbassat Agency: Abbott Mead Vickers BBDO Creative team: Adrian Rossi, Alex Grieve Director: Simon Ratigan Shortlist Honda CR-V: Illusions John Lewis Insurance: Things matter Smirnoff: Apple bite Volkswagen: There’s a Volkswagen for everyone November / December Sainsbury’s Ad: Christmas in a day Client: Mark Given, Julia Foye Agency: Abbott Mead Vickers BBDO Director: Kevin MacDonald Shortlist Google Nexus 7: Far from home John Lewis: The bear and the hare KFC: Come together Marks & Spencer: Magic and sparkle
44 A year in TV 2013
Big thinking: the TV Planning Awards 2013 Where there is great effectiveness there is often great TV and at the heart of great TV is great planning. The Thinkbox TV Planning Awards recognise TV’s planning geniuses. We saw some brilliant campaigns claim victory in the latest awards.
These unique awards are not just about broadcast TV spots; they are about all of TV’s commercial innovations: technology-focused ones like Broadcaster VOD, multi-screening and TV companion apps, and others driven by regulation change such as contextual advertising and product placement. Whether for long-term branding or short-term response, the TV Planning Awards celebrate the best TV thinking that’s out there. In 2013 the very best thinking belonged to PHD, Drum and Grey London who won for their work for British Heart Foundation. This spanned three years and five campaigns including ‘Watch your own heart attack’, the Yoobot avatar tie-in with Nickelodeon, involvement with a Coronation Street plot line, screening The Angina Monologues on Sky1 starring Victoria Wood, and pairing Vinnie Jones with the Bee Gees’ Stayin’ Alive. They made full use of the broad spread that TV offers to produce compelling, life-changing results.
Big thinking: the TV Planning Awards 2013 45
Les Binet, Head of Effectiveness, Adam & Eve/DDB
Jude Bridge, Global brand and marketing director, Mothercare
If you had said five years ago that the British Heart Foundation would be one of the most innovative users of TV, people would have been surprised. Every time they go at it, something interesting comes out.
Jessica Burley, Chief Executive, M/Six
Dan Clays, Managing Director, OMD UK
Steve Hatch, Chief Executive, MEC
Peter Duffy, Marketing Director, Easyjet
Arif Durrani, Head of Media, Campaign, Brand Republic Group
Stewart Easterbrook, Chief Executive, Starcom MediaVest Group
Rosie Faulkner, Partner, Mindshare
Grand Prix Winner, Best ongoing use of TV PHD, Drum and Grey London British Heart Foundation ‘Saving lives through the power of TV’
Justin Gibbons, Creative Director, Arena Media
Laurence Green, Founder, 101
Best use of TV in an integrated campaign Manning Gottlieb OMD John Lewis ‘Melting hearts of the nation…again!’
Claire HarrisonChurch, Marketing Strategy Director, Premier Foods
Steve Hatch, Chief Executive, MEC
The judges
01 British Heart Foundation
The winners
03 Chambord
Matthew Hook, Chief Strategy Officer, Carat
Andrew Mallandaine, UK Sales Sirector, Turner Media Innovations
Andrew McIntosh, Head of Brand, BskyB
Richard Oliver, Managing Partner, Universal McCann
Tanya Steele, Director of Fundraising, Save the Children
04 Surf
Best newcomer to TV UM London Chambord ‘Chambord’s decadent TV debut’
05 20th Century Fox
Chris Hayward, Head of Investment, ZenithOptimedia
02 John Lewis
06 Autoglass
Best use of sponsorship or content Mindshare UK Surf ‘The only smell is Essex’ Best use of TV innovation Vizeum 20th Century Fox ‘Prometheus and the Twitter break’ Best use of TV for response Starcom MediaVest Autoglass ‘Making peak TV spend more accountable’
07 Paddy Power
Best low-budget use of TV M2M Paddy Power ‘The miracle in Medina’ For more details on the winners visit www.thinkbox.tv/planningawards2013
46 A year in TV 2013
Saturday Meet the Night Superhumans Takeaway Channel ITV 4
How can we help? 47
How can we help?
48 A year in TV 2013
Dear Thinkbox…
dear thinkbox 49
I don’t get enough informative email from loving trade bodies. How can I hear more? Fear not, we produce an e-newsletter, ‘Thinkbox in your Inbox’, which keeps our registered website users up-todate with the latest news from TV, including new case studies and details of our upcoming events. You can register to receive these occasional doses of TV love via our website.
I love events. Does Thinkbox do them?
We exist to help you get the very best out of TV. Here we answer some burning questions…
You’re lucky, we host a rolling programme of free inspirational events, which feature well-known industry brains and focus on specific areas of interest to advertisers – often showcasing the latest Thinkbox research. You can either come along or lean back and watch the live web stream from your desk. In 2013 we covered a number of important topics, including the power of TV ad creativity; the relationship between paid, owned and earned media; how people in adland see the world differently; and how to sort good data from bad. Visit the Events and Training section on the website to see what’s coming up and to view past presentations and films.
What does Thinkbox look like? Can we meet? We certainly can meet. We’d like that. As much as is feasible with our small team, we aim to visit agencies and advertisers to take you through the latest about TV face to face – and give you a chance to ask questions. Give us a brief and we’ll do our best to deliver – all for free. To arrange a presentation contact Xanthe (xanthe.holloway@thinkbox.tv) Comic Strip Gold
Where can I find great training courses about TV? Allow us to help. One of Thinkbox’s top priorities is to ensure that the industry is kept up to speed with the rapid changes happening to TV. We offer training workshops throughout the year and all are free to people working at a UK advertiser, a media or advertising agency, or for one of Thinkbox’s associates, shareholders, or their partner companies. To attend a workshop, simply fill out the registration form in the Events and Training section of our website. We’re also very happy to arrange bespoke training. Just let us know what you’re interested in and we can arrange a tailored session which can be held either at our offices or yours if more convenient.
Is there a TV-obsessed website that I can lose myself in during the commute? Step forward thinkbox.tv. Our website brings together every aspect of the world of TV advertising. It is home to a wide variety of brilliant content designed to inspire and inform agencies and advertisers.
I own an iPad but I’m bored with the apps I’ve got – any suggestions? You could do worse than download the Thinkbox app. It features all the essential facts, figures, and thinking in TV advertising. It is designed for anyone involved in or interested in TV advertising – from advertisers, media planners and buyers, to creative agencies, auditors and journalists – and includes the latest
consolidated TV viewing data from BARB, inspiring advertising case studies, TV ad galleries, and the best research into how and why TV advertising is so effective. The app is available to download for free via the Apple App store.
I have a question about TV advertising, where should I turn? Relax. If you can’t find what you’re looking for on Thinkbox.tv then we also have a Planning Helpdesk. Either email info@thinkbox.tv or call on 020 7630 2320 and we will do our best to answer any question you have and provide you with the latest information.
I’m a journalist writing about TV and I would like to check the facts? Where’s best? Thinkbox loves journalists – especially the ones who use the facts. This glossy thing you’re reading is designed to be a fountain of facts for you, but if what you’re looking for isn’t here, it will be on our website. But by far the easiest thing to do is get in touch with our Head of Communications, Simon Tunstill (simon.tunstill@thinkbox.tv), and he’ll furnish you with all the facts you’ve ever dreamed of to help ensure your articles are accurate as well as insightful.
If you’d like to discuss any of our work further, then please do contact us. Lindsey Clay Chief Executive lindsey.clay@thinkbox.tv
Tess Alps Chair tess.alps@thinkbox.tv
Neil Mortensen Director of Research & Planning neil.mortensen@thinkbox.tv
Andrew MacGillivray Marketing Director andrew.macgillivray@thinkbox.tv
Alex Riozzi PA to directors 020 7630 2360 alexandra.riozzi@thinkbox.tv
Tel. 020 7630 2320 Thinkbox TV Ltd. Manning House, 22 Carlisle Place, www.thinkbox.tv Victoria, London SW1P 1JA
Shareholders
Associate Members
Supporters