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VOD - The wild west of audience measurement
ACB Conference - 7th July 2009
In May 2009, The Inbetweeners was viewed
2.5 million timesMaking it our fastest
downloadedPC VOD programme
Source – C4 Business Objects May 2009
940
270 252
442
327
135
0
100
200
300
400
500
600
700
800
900
1000
E4 1st Tx E4 +1 1st Tx Repeats Recorded PC VoD TV VoD
000's
Tearing up the research rule book and putting VOD into context
Source – BARB and Business Objects.
The Inbetweeners – Series 2 Average
The reality is Inbetweeners is C4’s best example of an extreme VOD “outlier”
Channel 4’s top 10 progs in May
On-line views in May
Shameless 651,000
Desperate Housewives 601,000
Embarrassing Bodies 301,000
Madeline was here: Cutting Edge
46,000
Come Dine With Me 554,000
Ramsay’s Kitchen Nightmares 266,000
The Secret Millionaire 76,000
Kirstie’s Homemade Home 93,000
Hollyoaks 782,000
Gok’s Fashion Fix 202,000
Top 3 PC VOD = Drama
Bottom 3 PC VOD = Factual
Source – C4 Business Objects May 2009
General insights about VOD behaviour based on actual data
• Research needs to be sensitive to the genre mix and preferred viewing environment
• On demand viewing is driven by a set of key genres
Drama, comedy, entertaining factual
Importance of Drama
• 31% of PC VOD downloads in May 2009 were drama
• 34% of TV VOD transactions in May 2009 were drama
• BARB data shows that drama is the most time shifted genre in homes with a PVR– 38% of drama viewing is timeshifted– Increased proportion year on year
Source – BARB and Business Objects.
10
11
28
29
30
36
7
10
28
30
29
38
0 5 10 15 20 25 30 35 40
News
Sport
Documentaries
Drama singles
Hobbies/Leisure
Drama series/serials
% time shifting by genres: top 4 and bottom 2 genres
2008
2007
Source – BARB Sky + homes, individuals, all day %
Drama is the most time shifted genre in Sky+ homes and continues to increase
General insights about VOD behaviour based on actual data
• Research needs to be sensitive to the genre mix and preferred viewing environment
• On demand viewing is driven by a set of key genres
Drama, comedy, entertaining factual
• Programming is skewed toward young and upmarket content, although genre plays more of an influence
• Consumption is driven by recency
Importance of Recency
• PVR trends- 2008: 49% of time shifted viewing is VOSDAL- Over time proportion of VOSDAL is increasing
- TV VOD trends- Early BARB data shows 50% of TV VOD viewing
(Virgin) is within 24 hours of broadcast- 72% of C4 TV VOD (Virgin) is “Catch up”
16
19
21
26
28
32
51.0
0 10 20 30 40 50 60
Fit programme around work life
Fit programme around social life
Nothing good on when I watch TV
Allows me to watch TV on my laptop
Watch a programme recommended by friends/family
Regularly miss/unable to watch my favourite programmes asscheduled on normal TV
Catch up on my favourite programmes
% agreeing the main reasons for watching TV programmes on the internet
Source – Essential Research November 2008
On-line VOD users and the importance of recency
26
31
31
44
61
0 10 20 30 40 50 60
Good selection of sociable programmes
Better programmes than normal TV
Nothing good on when I watch TV
Regularly miss/unable to watch my favourite programmes asscheduled on normal TV
Catch up on my favourite programmes
% agreeing the main reasons for watching TV programmes on TV on demand
TV (Virgin) VOD users and the importance of recency
Source – Essential Research November 2008
“Always scheduled TV first”Linear schedul
e
“I mostly use the V Plus box I have. I think that may be why I sometimes do not need the catch up - as long as I remember to record something.”
PVR
“[If miss a programme] Probably watch it on Catch Up TV if it is on there. If not I would go on the internet to see if i can watch it there”
Catch Up
“TV Choice: when I can't find any programs to watch on normal TV and I haven't got any programs recorded on the V+”
TV Choice
Online VOD
“If a series is missed completely, I’ll download off the internet, but that does not happen often having V+ and catch up”
Viewing hierarchy for the majority of Virgin customers
Key Points
• Programmes like The Inbetweeners are excellent examples of VOD behaviour at its most extreme. The fusing of highly personal content aimed at a very specific audience
• The general direction of travel for VOD consumption is driven by key genres rather than particular demographics as penetration grows
• Recency and catch up are the main drivers of VOD consumption
• VOD plays a role in the mix but is substitutable with other digital technologies