TH I N K BOX
TV IN THE VIDEO WORLD IN ASSOCIATION WITH THE MARKETING SOCIET Y
We’re the superhumans Channel 4’
Contents
Why should you read this?
02
If you read one bit, read this
04
The video world in context
06
Does video advertising work?
10
Are all video ad views equal?
12
Measuring video
16
What makes BVOD advertising special?
18
Talk to the broadcasters
20
X Factor ITV
THINKBOX
TV IN THE VIDEO WORLD
WHY SHOULD YOU READ THIS?
Why should you read this? There was a time when broadcast TV and cinema were pretty much the only forms of video at marketers’ disposal. But there are lots of new kids on the block, including new forms of TV. The video world has exploded in recent years and is becoming ever more complicated, with a bewildering amount of (sometimes questionable) data. This booklet is here to help marketers navigate this new world – and to put it into some perspective.
01 Andre Rieu Sky Arts 02 Victoria ITV 03 First Dates Channel 4 04 Red Dwarf Dave 05 We Bare Bears Cartoon Network
Video is everywhere: in our mobile apps, in our online news brands, in social media, on entertainment sites, and, of course, via TV channels and through Broadcaster VOD (BVOD) services. The direction of travel in advertising is increasingly from static and text-based to video. But there is a huge variety in the quality and nature of the video content at our fingertips and therefore the advertising opportunities. And, with so much video at every turn, it can become confusing. Newness and hype – and, sadly, more pernicious things like fraud – along with real challenges around measurement and attribution, have obscured the picture when it comes to understanding what is really going on. This was brought into sharp relief recently by the astonishing revelations about Facebook’s overreporting of its video viewing and reach. Marketers are demanding that Facebook and others should not be allowed to mark their own homework and, when this booklet went to print, Facebook had begun taking steps to repair the loss of trust. —04—
So how much video are we actually watching? What types? How does video advertising work? How do different types of video work together?
[02]
[01]
We don’t yet have all the answers. But within these pages we have gathered together the best of what we do know about the video world and TV’s place within it. You will discover the latest insights into video advertising effectiveness, how the new video world fits together, what marketers should be aware of when approaching different forms of video, what makes BVOD special, and some inspiring examples of video advertising.
[04]
[03]
[05] —05—
THINKBOX
TV IN THE VIDEO WORLD
IF YOU READ ONE BIT, READ THIS
If you read one bit, read this [02]
[01]
87.6% TV ADVERTISING ACCOUNTS FOR 87.6% OF ALL VIDEO ADVERTISING TIME FOR 16–24S
TV ACCOUNTS FOR THREE QUARTERS OF ALL VIDEO VIEWING
NOT ALL VIDEO AD VIEWS ARE EQUAL
01 Marcella ITV 02 A League of Their Own Sky 1 03 Channel 4 News Channel 4
[03]
TV ADVERTISING EFFECTIVENESS HAS INCREASED
There are lots of different types of video – from linear TV to online video to subscription VOD services like Netflix. The average person in the UK watches 4.5 hours a day of video in total and TV accounts for three quarters of it.
We are in desperate need of standardisation for different types of video. Marketers need to consider how much of their ad was seen, who saw it (hopefully human), what content it rubbed shoulders with and how it was viewed – for example, was it seen mid-scroll with the sound off on a smartphone?
TV ACCOUNTS FOR 94% OF ALL VIDEO ADVERTISING TIME
BVOD ADVERTISING HAS A 92% VIEW THROUGH RATE
TV AND OTHER FORMS OF VIDEO ARE THE DREAM TEAM
That’s in full and with the sound turned on. For 16–24s TV advertising accounts for 87.6%. To put this in perspective, YouTube accounts for 0.6% of video advertising time for all individuals and 1.4% for 16–24s.
This is remarkably high. It is also always watched full screen and usually on a big screen, as 64% of BVOD is watched on a TV set
TV may be the most effective form of video, but it is made even more effective when used in conjunction with other forms of video. Binet and Field found that TV plus online video (including BVOD) gives a 54% increase in the average number of very large business effects (see pages 10 & 11).
—06—
Les Binet and Peter Field’s recent effectiveness research for the IPA found that TV is the most effective form of advertising and that this has increased in recent years. During 2008–2016, investing in TV increased a campaign’s effectiveness by 40%, higher than ever.
—07—
VIRGIN TRAINS’ LOCATION TARGETING ON ALL 4 Using All 4’s personalisation tool Virgin Trains provided viewers with live pricing for their local train station within an enhanced pre-roll player. The format delivered an eangagement rate (the percentage of viewers who interacted) of 0.76% and an activity rate (the percentage of people who hovered over it at some point) of 65% both of which are above the average for the channel.
TV IN THE VIDEO WORLD
THE VIDEO WORLD IN CONTEXT
The video world in context
Video measurement is a slippery pig. Video services have emerged at a faster rate than measurement has been able to cope with. It has been hard to get a firm grip. So, in the absence of a single measurement source, and having often been asked to show where TV sits in the world of video, Thinkbox has put the UK’s video viewing habits into context by drawing on and combining a variety of recognised, independent research studies. These include comScore, BARB, Rentrak box office numbers, the IPA’s Touchpoints study and Ofcom’s ‘Digital Day’ study.
Is Netflix more popular than YouTube? Is ‘adult’ video watched more than Subscription video on demand (SVOD)? How does BVOD compare with SVOD? And how does this all differ for younger viewers? Prepare for answers…
TV IS THE MOST POPULAR FORM OF VIDEO Average video time per day: 4 hours 35 minutes (all individuals), 3 hours 25 minutes (16–24s)
4.4%
YouTube Facebook Other online video Online 'adult' XXX video Cinema Subscription VOD DVD BVOD Playback TV Live TV
TV ACCOUNTS FOR THREE QUARTERS OF VIDEO TIME
All individuals
2.2% 5.8%
16–24s
4.4%
10.3%
0.4%
5.7%
4.0%
6.6% 61.6%
43.5%
2.9% 3.0%
6.4% 0.9%
3.7%
16-24s watch more on-demand forms of video than generations before that didn’t grow up with them, but TV remains their favourite form of video by some distance. Source: 2015, BARB / comScore / Broadcaster stream data / OFCOM Digital Day / IPA Touchpoints 2015 / Rentrak
8.7%
7.0%
TV – live, playback or on-demand across all screens – had a 76% share of total video viewing in 2015. In the UK, YouTube accounts for 4.4%, online ‘adult’ video was also 4.4% of total video, Subscription Video on Demand (SVOD) viewing – comprised of Netflix, Amazon Prime and other SVOD services – totals 4%.
All individuals
VIDEO ADVERTISING TIME Average video advertising time per day: 18.5 mins (all individuals), 12.8 mins (16–24s)
0.6%
YouTube (est. 15 secs per video) Other online (inc autoplay) Cinema BVOD Playback TV Live TV
1.4%
TV ACCOUNTS FOR 94% OF ALL VIDEO ADVERTISING TIME
5.1% 0.4% 1.2%
16–24s
9.9%
6.2%
1% 3.2% 6.9%
86.5%
That’s in full and with sound. For 16-24s TV advertising accounts for 87.6%. It’s worth saying that much of the Facebook and the ‘other’ online video is not viewerinitiated but autoplay video – i.e. something that plays on a loop somewhere on your screen with no sound unless interacted with. Source: 2015, BARB / comScore Video Metrix / Broadcaster stream data / OFCOM Digital Day 2014 / IPA Touchpoints 2015 / Rentrak
77.5%
MILLENNIALS’ TV VIEWING INCREASES AS THEY GET OLDER AND HAVE KIDS
16–24
25–34
25–34 with children
LIFE STAGE INFLUENCES VIDEO CONSUMPTION The IPA’s Touchpoints study shows the impact that life stage has on our viewing habits. Looking at different ends of the so-called ‘millennials’ scale – so within the same generation – we can see the difference life stage makes.
3 Average hours viewed per day
THINKBOX
As millennials get older they watch less Netflix and YouTube, but more TV. When they have children this behavioural change is even more pronounced. This isn’t a concrete prediction of the future, but with 81% of the UK now having broadband access, 60% having VOD services on their TV and 75% carrying smartphones, it is not unreasonable to think that this life stage effect will continue.
2
1
11.4%
Source: IPA Touchpoints 2016. Base: 16–24, 25–34, 25–34 with children
7.0%
0 TV on a TV set
—08—
BVOD
SVOD e.g. Netflix
Other online video inc YouTube / Facebook
—09—
THINKBOX
TV IN THE VIDEO WORLD
THE VIDEO WORLD IN CONTEXT
Adults
WEEKLY REACH BY VIDEO TYPE 100 90
16–24
95.2
The latest data from IPA Touchpoints 2016 reveals that linear TV has by far the largest weekly reach both for adults (95.2%) and 16–24s (88.5%). BVOD generates the highest weekly reach of the various VOD services.
88.5
Weekly reach %
80 70 60
53 46
50
39.9
30 19.3
20
SVOD services, YouTube and other online video services have higher weekly reach for 16-24s compared with their reach for the average adult. However, reach figures for services like YouTube and other forms of online video need to be understood in the context of the time spent with these different platforms (see p.12). TV achieves by far the furthest reach as well as the most time.
46.6
42
40 21.5
20.2
10 0 TV
BVOD
INCREMENTAL REACH ACHIEVED BY TV + VOD
SVOD
YouTube
TV + BVOD + Other online video
Other online video (inc Facebook)
TV + BVOD
TV
Source: Touchpoints 2016, IPA
ONLINE VIDEO ADDS SOME INCREMENTAL REACH BVOD and other online video add 4% of incremental weekly reach among adults and 12% among 16–24s. This shows that some VOD advertising is required to drive up reach among younger audiences to its maximum potential.
100 90 80 Weekly reach %
TV REACHES PARTS OTHER VIDEO DOESN’T
Source: Touchpoints 2016, IPA
70
DIFFERENT VIDEO, DIFFERENT SCREEN
VIEWING PROPORTIONS BY DEVICE – ADULTS Source: Touchpoints 2016, IPA. All adults. ‘Other device’ not shown LIVE/ STREAMED/ RECORDED TV
BVOD CATCH UP
SVOD
YOUTUBE
ALL OTHER ONLINE VIDEO
% OF ALL VIDEO TIME (2015)
73%
3%
4%
4.4%
12.4%
TV set
99%
63%
61%
16%
34%
PC/laptop
0.5%
18%
23%
46%
43%
Tablet
0.3%
12%
7%
14%
10%
Smartphone
0.1%
5%
4%
21%
9%
VIEWING PROPORTIONS BY DEVICE – 16–24 Source: Touchpoints 2016, IPA. 16–24. ‘Other device’ not shown LIVE/ STREAMED/ RECORDED TV
BVOD CATCH UP
SVOD
YOUTUBE
ALL OTHER ONLINE VIDEO
% OF ALL VIDEO TIME (2015)
50.5%
7%
8.7%
10.3%
18.7%
TV set
98%
46%
44%
11%
19%
PC/laptop
1.7%
31%
39%
52%
61%
Tablet
0.3%
12%
6%
13%
7%
Smartphone
0.3%
8%
5%
21%
10%
60 50 40 30 20 10 0 Adults
16–24
—10—
—11—
Touchpoints shows that BVOD and SVOD are most likely to be viewed on the TV set, while YouTube and other online video are most commonly viewed on a PC/laptop. There is little difference between 16–24s and adults in terms of the amount and types of video they watch on smartphones and tablets. However, apart from BVOD, 16–24s are less likely to watch video on a TV set and more likely to watch on PC/laptop. A relatively high proportion of other online video viewing takes place on a TV set and this may be driven by viewing of illegal pirated content.
TV IN THE VIDEO WORLD
DOES VIDEO ADVERTISING WORK?
Does video advertising work?
You bet it does. That is why the direction of travel in advertising is towards audio-visual. And landmark new research by the IPA revealed that TV advertising works best of all, especially when used with online video. "Brands need media with mass reach and scale. Television and video are the key ingredients." Peter Field
In the world of marketing effectiveness research, two people stand above all others. Les Binet and Peter Field are pre-eminent. They recently revealed the first part of their latest analysis of the IPA Databank, ‘Marketing in the Digital Age’, which is designed to identify marketing best practice at a time of mature, experienced usage of digital channels. It sheds plenty of new light on the effectiveness of advertising and different forms of videos’ place within it. Here are the key points:
MASS MEDIA ARE CRUCIAL Binet and Field found that penetration is still three times more likely to be the main driver of growth and profit compared with loyalty and that the scale of medium is the primary driver of effectiveness.
VIDEO DRIVES EFFECTIVENESS Emotional advertising, which Binet and Field found to be the most effective approach, is uniquely suited to video. —12—
MARKETING IN THE DIGITAL AGE The findings outlined in this section constitute the first part of a full report, to be published in 2018. This first section provides analysis of the IPA Databank and draws on IPA TouchPoints data to highlight the long and short term effects of different digital channels, and how they operate with one another and with more established media in order to achieve maximum effectiveness. It is a follow up to Binet and Fields’ previous IPA reports, ‘Marketing in the Era of Accountability’ (2007) and ‘The Long and the Short of it’ (2011). As a meta-analysis across a large number of IPA Databank case studies, Binet & Fields’ ‘Effectiveness in a changing media landscape’ findings establish the relationship between campaign inputs, such as the use of different channels, and outcomes which report whether very large business effects occurred, such as profit growth and market share increases. As such, although their analysis can’t tell us the volume of effects driven by any given channel, it can give a very good steer on directional effects: how channels can work together to increase effectiveness.
VOD MAKES TV EVEN MORE EFFECTIVE Source: Effectiveness in a changing media landscape, 2016, Binet & Field IPA. 40% Increase in avg. no. of very large business effects from adding
THINKBOX
36% 35% 30%
27%
25% 20% 15% 10% 5% 0% TV without BVOD
TV with BVOD
Adding BVOD to the mix increases effect of TV by a third
'Investing in TV increases effectiveness by 40%, making it the most effective medium.'
TV ADVERTISING IS THE MOST EFFECTIVE
GAIN THEORY
In particular, the findings reveal the impact of television. Investing in TV increases effectiveness by 40%, making it the most effective medium. It is also the best for generating top-line growth that drives profit, with a 2.6% average market share point gained per year when using TV advertising.
TV IS GETTING MORE EFFECTIVE Between the years 1980–1996, adding TV to a campaign led to an average 12% increase in business effects. This increased to 40% during 2008–2016.
TV AND ONLINE VIDEO WORK IN SYNERGY One reason TV has got more effective is due to video on demand and online video working in synergy with live television.
—13—
Another study of video advertising by Gain Theory & Videology supports Binet and Field’s study, especially about the combined power of TV & online video. Key findings include: ——Online video including BVOD increases the effectiveness of TV, giving a 27% increase in ROI compared with using TV alone ——There is a stong link between an increase in BVOD and an increase in VOD ROI ——The optimal proportion of online video in the average overall AV budget was 12.8% ——Low budgets that require c. 4+ frequency can benefit from the lesser scale of online video and the ability to frequency cap as this can be more efficient than low budget TV campaigns that tend to drive high reach rather than frequency.
THINKBOX
TV IN THE VIDEO WORLD
ARE ALL VIDEO AD VIEWS EQUAL?
Are all video ad views equal?
No. They’re not. But you probably want a bit more detail than that. 'BVOD, Snapchat, YouTube, Instagram, Facebook all have different definitions of a view.'
Advertisers should know what they are buying. But in the world of online video there is some confusion about what an ad ‘view’ means, particularly in comparison to a broadcast TV ad view or a BVOD ad view. The truth is that a view can mean very different things depending on the video provider who is talking to you. The industry desperately needs more standardisation here. The bodies who regulate and advise on this issue – including JICWEBS, UKOM and the IAB – have made attempts to introduce common standards, but they cannot force online companies, particularly global or multi-territory ones, to abide by them. Advertisers and agencies could play a vital role here by insisting that their investment is measured and invoiced only against recommended metrics. Until that happens, we hope this information will help you to ask the right questions so you know what you are buying. There are four areas that we should consider when evaluating a ‘view’. They do overlap and have an impact on each other, but it makes sense to deal with them separately: —14—
Dara O Briain’s Go 8 Bit, Dave
01. View duration and viewability – how much of my ad was seen (and heard)? 02. Audience – who was watching? 03. Content environment – what content is your ad aligned with? 04. Viewing context – how is your ad being viewed?
VIEW DURATION AND VIEWABILITY – HOW MUCH OF MY AD WAS SEEN? BVOD, Snapchat, YouTube, Instagram, Facebook and Broadcast TV all have different definitions of a view. So to properly evaluate each platform we need to collect the catchily named ‘cost per completed viewable view’ (CPCVV). This allows for a meaningful comparison based on how much was paid for one ad viewed in full.
'Broadcast VOD averages a 92% completion rate.'
With BVOD on average delivering a 92% completion rate and appearing in video players which can only be watched in a window or full screen, we can be confident that the CPCVV for BVOD holds up very well relative to the basic selling price of a view (CPM – the cost per thousand ad impressions). TV set viewing works on a different basis. BARB measures the average number of viewers watching for any given minute and this gives the average audience for a commercial. In essence the average CPM paid for a TV spot is equivalent to the CPCVV.
AUDIENCE – WHO WAS WATCHING? Views are not the same as viewers; online views are based on devices not people. BVOD watched on a device is likely to have an audience close to one person whereas BVOD watched on a TV set is more likely to have an audience of 1.5 as TV set viewing is often shared.
—15—
Additionally, device views might not even be people. Fraudulent ‘bot’ generated traffic is rife, especially across online video as video commands a higher CPM. The ANA’s most recent analysis shows that video ad fraud ranged from 1–70% of ad video views vs 2–30% for static display (although BVOD doesn’t suffer from this). TV viewing, measured by BARB, measures devices and people. BARB is a JIC (Joint Industry Currency) whereby its methodology is ratified by all the players in the industry including advertisers (via ISBA) agencies (via the IPA) and broadcasters (commercial and the BBC). BARB appoints reputable and robust third-party research agencies to undertake its contracts, hence is virtually immune from any type of fraud and certainly immune from any cyber or ‘bot’ fraud.
THINKBOX
TV IN THE VIDEO WORLD
ARE ALL VIDEO AD VIEWS EQUAL?
HOTEL.COM’S ‘SKIPPABLE AD’ ON ALL 4 Using All 4’s enhanced pre-roll options, Hotels.com set out to drive awareness of Captain Obvious… and have some fun. The Ad ran with a ‘Skip ad’ button, in the style of a YouTube pre-roll, however, rather than doing away with the advertising the function of this ‘Skip ad’ button was to reveal the ‘Skippable’ version of the ad in which all of the characters were literally skipping. The ad’s engagement rate (the percentage of viewers who interacted) was 27.6% – the highest ever for All 4 – and it achieved a 98% view-through rate.
Cold Feet ITV
A classic example of the confusion over who is watching are the stories about YouTube that appeared following the second US Presidential debate. YouTube announced it had achieved 124 million views of the debate. As the TV audience was 66 million this was reported as a victory for YouTube over TV. But they were comparing apples and pears. YouTube’s 124 million views were in fact 6 million people clicking on the live stream a number of times (adding up to 124 million) and watching for an average of a minute and a half. By contrast, the broadcast TV number of 66 million was the average number of viewers for the entire duration of the 90 minute debate. In effect, YouTube had delivered less than 3% of the viewing.
CONTENT ENVIRONMENT – WHAT CONTENT IS YOUR AD ALIGNED WITH? Of equal importance to your ad’s duration and viewability is the environment your video advertising is rubbing shoulders with and where. Too often video advertising views are treated as —16—
VIEWING CONTEXT – HOW IS YOUR AD BEING VIEWED?
though they are equivalents, but watching an ad before a film in the cinema is very different from an autoplay silent video on your mobile, say. People are much more likely to find video advertising acceptable when they are watching video content. Knowing what content your ad is placed next to is crucial for both effectiveness and brand safety. And the longer that content and the higher its quality, the more they will find the ‘value exchange’ (their time watching ads in exchange for our programmes) a fair one. In BVOD, the key point is that they are choosing to watch a TV programme, so they are relaxed and have the time to watch your ads – and indeed expect to find them. While BARB provides full visibility across a TV plan, the broadcasters acknowledge that BVOD reporting needs improvement and developments are underway. But advertisers can be confident that their ads are always aligned with professionally produced content and that the ads are compliant with all Ofcom’s code; for example, HFSS products won’t be placed in children’s programmes.
88% OF TV SET VIEWING OCCURS IN THE LIVING ROOM
48% OF TV SET VIEWING IS SHARED
This can cover a multitude of criteria, physical and emotional, but for brevity (and sanity) let's concentrate on the ones that matter most: ——Avoidability: How easy is it to avoid watching the ad? Has it started by autoplay in a screen you can scroll past or is it playing full screen and un-skippable within a piece of content you’ve specifically chosen to watch? ——Sound: Is the sound on or off? Will my ad work or be as effective if viewed without sound? ——Location: Where is the viewer? Waiting for a takeaway? On the bus? On the sofa at home? ——Solus vs. shared viewing: Are you watching by yourself or are you with friends and family? ——Screen size: Is the ad playing on a 50” high definition LCD TV or a mobile phone?
—17—
Advertising in broadcast TV as measured by BARB is always in home (viewing in pubs, hotels, student accommodation isn’t measured by BARB and as such any advertising seen there is free to advertisers); it is pretty certain that the sound will be on; 88% of viewing occurs in the living room; and 48% is shared. Within the 87% of TV viewing that is live the ads are un-skippable and 51% of UK homes own a 40+” TV set. BVOD shares many of these characteristics, with 63% of BVOD catch-up and box set viewing watched on the TV set, according to the IPA’s Touchpoints research.
THINKBOX
TV IN THE VIDEO WORLD
MEASURING VIDEO
Measuring video
[02]
BARB has been delivering television viewing figures since the year Prince Charles married Princess Diana. Clearly the world has moved on a great deal since 1981 when there were just three television channels, none of which broadcast around the clock. Yet for all that’s changed, television is still the only advertising medium that delivers fully representative behavioural data each and every day of the year. BARB is owned collectively by the UK advertising and television industry, which expects a trusted, objective source of data.
JUSTIN SAMPSON
Chief Executive, BARB
DEALING WITH FRAGMENTATION
screen or indeed how many people, knowledge that’s critical to the evaluation of marketing effectiveness. It’s also vital if you want to determine how much online platforms are adding to the audience reached through a TV set.
This is a constant as we develop a joint industry currency that allows relative value to be determined across a wide range of media opportunities.
BARB IDENTIFIES WHO IS WATCHING WHAT AND ON WHICH DEVICE
The latest manifestation of fragmentation is the arrival of the internet as a distribution platform for television and video content. Clearly the internet has heralded other things, not least the idea that big, proprietary datasets are a panacea. That said, it would be highly impractical for our industry to have a trusted currency if it only had proprietary data to work with. These new datasets typically rely on information sourced from devices, which is naturally alluring because of the low data collection costs. Yet this information doesn’t tell you who is in front of the
—18—
Having established this, we report the actual behaviour of real people and there are close to 12,000 individuals in our representative panel of homes. The modern reality is that people panels such as ours can be enhanced by device data. This could be metadata tags that are generated every time an online app is used to watch television or video content. Equally, it could be return path data from set-top boxes that are attached to TV screens all around the country.
[01]
01 Samsung BBH Sport 02 Boots Mother 03 Virgin Active Iris
[03]
HYBRID MEASUREMENT IS OUR FUTURE Although anyone who’s been involved with a data integration project will know this isn’t an easy path to follow. This is especially true for BARB, given our industry’s expectations for a transparent solution that lives up to our gold standard.
GOLD STANDARD MEASUREMENT ACROSS DEVICES AND PLATFORMS REQUIRES THREE INGREDIENTS 01. Standard metrics. Online viewing has to be measured on the same principles as viewing on the TV set. For us this means relying on average duration metrics. Imagine how many billions of TV views could be claimed by broadcasters if BARB separately reported each view of at least three seconds?
—19—
02. A single-source panel of people. This is to understand viewing across different devices. It’s not as easy to recruit homes to our panel when we ask to monitor their computer viewing as well as their TV set viewing. Yet a single-source panel is fundamental if you want clear evidence of how online platforms are adding unique reach to linear television campaigns. 03. Transparency. Providers of hybrid solutions should fear no scrutiny, whether it be the principles behind the algorithms or an independent validation of the data inputs. BARB has never refused to work with any company that subscribes to these principles.
THINKBOX
TV IN THE VIDEO WORLD
WHAT MAKES BVOD ADVERTISING SPECIAL?
What makes BVOD advertising special?
SONOS – EXCLUSIVELY TARGETING SKY BOX SET VIEWERS Using Sky’s VOD platform, Sonos was the first brand to exclusively target box set viewers, who skew younger and more tech savvy. The BVOD activity aired in the runup to Christmas 2015 and the campaign reached 785,000 adults at an average frequency of 3.75. The campaign has pushed Sonos top of mind, with an increase from 15% to 21% of test respondents mentioning Sonos spontaneously. And there has been a similar pattern of results for other key measures, including prompted awareness, familiarity, affinity and association with the Sonos tagline “Your Home”.
Not all video is equal. Different types of video appear along a quality spectrum. And right up the high quality end of the spectrum are the BVOD services. And that is great news for advertisers. Here’s why.
63% 63% OF BVOD IS WATCHED ON A TV SET
ALWAYS FULL-SCREEN, USUALLY BIG SCREEN All BVOD players default to full-screen as soon as the play button is pressed and 63% of BVOD is watched on a TV set, according to IPA Touchpoints 2016.
A YOUNG AND UPMARKET AUDIENCE 46% of BVOD viewing is by 16–34s and 61% of viewers are ABC1, according to IPA Touchpoints 2016.
92% VIEW-THROUGH RATE 46% OF BVOD VIEWING IS BY 16–34S
This is the proportion of BVOD advertising that is watched from start to finish , according to Broadcaster data.
NO ‘BOTS’ WATCHING
HIGHLY ADVANCED AD SOLUTIONS
BVOD has zero (or close to zero) ‘bot’-generated ad views. Channel 4 recently commissioned Theorem to conduct an audit of their BVOD delivery to check for ‘bot’-generated impressions. They found it was close to zero. In fact, the only ‘bots’ present were those generated by the system used to prove to agencies that the BVOD ads were playing out.
The different BVOD offerings provide a suite of advanced advertising solutions spanning interactivity, personalisation, audience, genre and interest group targeting, as well as programmatic ad exchanges.
HIGHLY ENGAGED VIEWERS BVOD is an indulgent treat, a box of chocolates. It has highly engaged viewers catching up on their favourite shows and watching premium box-sets and movies.
THE BROADCASTERS HAVE DIRECT RELATIONSHIPS WITH MILLIONS OF THEIR FIRST PARTY DATA Many of BVOD’s advanced solutions are fuelled by CUSTOMERS.
high quality first party data – that is, highly reliable data that the broadcasters have collected themselves from willing users, not purchased from a third party. Channel 4 and ITV have 13 million registered users each and Sky has a direct relationship with its customer base of over 10 million homes.
VALUE EXCHANGE BVOD’s high view-through rate reflects the value exchange with viewers: they are happy to watch the ads as they get great content in return.
—20—
—21—
THINKBOX
TV IN THE VIDEO WORLD
Talk to the broadcasters
BVOD is premium, trusted online real estate for brands. As you’ve seen, it has a special place in the world of online video. To find out more about how to make the most of it, below are the contact details you need. CONTACTS
Stephen Poole Multi-Platform Group Sales Controller stephen.poole@itv.com ITV David Amodio Digital and Creative Leader DAmodio@Channel4.co.uk Channel 4 Greg Turtle Digital Strategist greg.turtle@sky.uk Sky
—22—
This is a modestly sized booklet; perfect for a fashionable handbag or knapsack but probably too big for a clutch. As such we could never pack in everything we wanted to say – especially about the nuts and bolts of BVOD. So we have put together a special section on our website to make this info available to you. Please visit thinkbox.tv/broadcasterVOD for more.
ABOUT THE MARKETING SOCIETY
ABOUT THINKBOX
THANKS TO
The Marketing Society is an exclusive network of senior marketers. Over the past 56 years we have emerged as one of the most influential drivers of marketing in the business community. The Society challenges its members to think differently and be bolder marketing leaders by supporting the development of leading-edge thinking and promoting the evidence of effective marketing. We are the place for discerning marketers to learn, develop and share best practice.
Thinkbox is the marketing body for commercial TV in the UK, in all its forms. Its shareholders are Channel 4, ITV, Sky Media, Turner Media Innovations and UKTV who represent over 99% of commercial TV advertising revenue through their owned and partner TV channels. Thinkbox works with the marketing community with a single ambition: to help advertisers get the best out of today’s TV.
SHAREHOLDERS
ASSOCIATE MEMBERS
SUPPORTERS
Thinkbox TV Ltd. Manning House, 22 Carlisle Place, Victoria, London, SW1P 1JA
The Marketing Society 8 Waldegrave Road, Teddington, TW11 8GT
Tel. 020 7630 2320 www.thinkbox.tv
Tel. 020 8973 1700 www.marketingsociety.com