In 2016 2,22 billion social media users are registered. Every day 500 million tweets are posted, 95 million photos are uploaded to Instagram and 300 hours video are uploaded to YouTube. Sharing, liking and engagement are important goals for marketers to spread their marketing communication brand messages on social media and therefore plays a considerable role in marketer’s creative strategy. In this blog I will discuss recent research articles about drivers of social media sharing, liking, and engagement.
The research articles show us that emotional content drives the sharing behavior of social media users, for instance New York Times news articles that induce emotions are more likely to be shared than stories without emotions. Especially news articles with negative emotions (like disgust) are likely to be passed through. Moreover, research reveals that persuasive content (like emotional and philanthropic content) increases engagement while informative content (like prices, availability, and product features) decreases engagement.
The literature also recognizes the use of hashtags and URL’s as driver for sharing. The use of hashtags and URL’s on Twitter are drivers for sharing while the use of links in Facebooks postings reduces the number of comments.
It is acknowledged that characteristics of social media users affect the sharing of social media content. According to the research literature users often share content on social media in an effort to manage their image or personal brand. In other words, it suggests that people share content that is consistent with the user’s desired image.
Finally, executional factors can drive the liking of content. An analysis of 8 million Instagram photos revealed that the following images generate higher levels of likes:
-light images (compared to dark images);
-duck face selfies (compared to realistic selfies);
-low saturation (the amount of grey) (compared to vibrant colors);
-single dominant colors (compared to multiple colors).
The photo on the left side contains three of the four mentioned characteristics.
Social influence and creator related features
Most marketers know social influencers can play an important role in the marketing strategy and some users of social media are more influential than others. Scientific literature shows us that influencers can stimulate adoption among other users. Hence, purchase intention of influencers can affect the purchase intention of others due to social comparison. People may compare their own possessions to those of influencer, because of influencer’s status or personal traits. Also, the number of both followers and followees affects positively the sharing behavior. Furthermore, seeding strategies directed at influencers are more efficient than strategies directed on high volumes of individuals. Finally, the experience and age can affect the effectivity of influencers. There is evidence that posts on online communities are less likely to get reply if newcomers write them.
Fit between content and user
Various groups of people can be identified on social media; populations which tend to discuss one topic and populations which tend to discuss various topics. Especially in a population where one topic is discussed, adapting the content user is an effective way to stimulate sharing.
The drivers for sharing, liking and engagement are displayed in figure on the left. The discussed literature suggests that content factors, user factors and the fit between content may affect the sharing, liking and engaging your audiences. Please check out the references below for more detailed research insights!
Senior Research & media Consultant
Brandwatch. (2017). Marketing: 105 amazing social media statistics and facts
Jaakonmäki, R., Müller, O., & Vom Brocke, J. (2017). The impact of content, context, and creator on user engagement in social media marketing. Paper presented at the Proceedings of the 50th Hawaii International Conference on System Sciences, Hawaii.
Zhang, Y., Moe, W. W., & Schweidel, D. A. (2017). Modeling the role of message content and influencers in social media rebroadcasting. International Journal of Research in Marketing, 34(1), 100-119. doi:https://doi.org/10.1016/j.ijresmar.2016.07.003
Lately, there is an increasing debate about the future of linear television. But is there a growing number of viewers choosing to exchange old fashioned linear television for VOD services as Netflix and YouTube as often claimed? And is linear TV perceived as old-fashioned by millennials?
Nielsen research (2016) revealed that only 11% of the viewers in Europe pay for broadcasts or VOD services. And in countries like The Netherlands and The United Kingdom paid VOD services are only used at an average of 15 minutes a day. Still the Dutch viewers watch at an average of 183 minutes (2016) linear TV per day. The British even watch more TV: at an average of 240 minutes per day. So the share of paid VOD viewing compared to linear TV viewing is limited. Television is still a mass medium.
That’s why vloggers go multiscreen. The Dutch online Katwalk format – about fashion, beauty and entertainment – was first distributed on Dutch RTL Multi Channel Network in 2016 and later on was launched at one of RTL’s commercial TV channels (RTL5). But not only local players are attracted to linear TV distribution. Also international players like to distribute their video content via linear TV. This year (2017) Facebook announced to distribute video content in an app at cable’s set top boxes, and video platform Vice already offers linear programming at the American and Dutch cable systems.
However, also a reverse trend is observable. A growing number of traditional TV channels are distributing their content through online platforms. Earlier this year CBS announced to offer television subscriptions in co-operation with Google. Comparable deals are planned with the FOX sports FX and National Geographic Channel. Also YouTube announced the launch of YouTube Unplugged, a service which will distribute several traditional American networks like CBS, ABC and ESPN. This could also be a new opportunity for Dutch networks to appeal to a younger audience. But the networks have chosen to distribute their channels through their own catch-up online platforms.
The online distribution of the Dutch channels through international platforms could interest millennials in linear viewing. Certainly, because many new online TV channels are distributing premium (linear) content. A video platform as Crackle offers high quality programmes as Comedian in cars getting coffee and action series like Cleaners (about a professional trained team of hit men). AOL originals even created a talk show format – Parkbench – in which Steve Buscemi follows various famous friends in New York. The show won (2016) an Emmy award for best short-form variety series on Sunday.
It is striking that even online channels exist, which are linear watched. Channels like Twitch (gaming) and the channel Spongebob are examples of this.
It has been a recurring theme among media experts that millennials have rejected linear TV. Probably this is due to the old-fashioned image of the traditional way of viewing (terrestrial and cable TV) and especially when one takes into account the rise of all types of linear online channels. So, European broadcasters in general and Dutch broadcasters in particular should think about distributing their linear channels through YouTube. Distributing channels through YouTube could imply that millennials massively will watch ‘linear TV’, but only online.
Senior Research and Media consultant
Television channel distribution in 2017 will be challenged by all kind of streaming services that will deliver standard digital and satellite TV packages over the internet to phone, television, and tablet. This will not only revolutionise creativity (fusion of data analysis and creativity development) but also helps advertisers to get insights in what is working. Although OTT and digital will grow, OTT services like Netflix and Amazon probably will focus on the development of fiction. So traditional television still will be a significant factor for the development of non-fiction like reality, talk, gameshows, and creating reach for advertisers. A report of Strategy Analytics Digital Media Strategies (DMS) service – Top Ten Digital Media Predictions for 2017 – supports this. American brands will re-evaluate the importance of reach and will be selling television advertising based upon total audience ratings in 2017. So traditional television is and will be an important factor in creating reach by the development of new creative formats.
So in this blog I would like to look back in 2016 on the most extreme and innovative formats. One of the most remarkable formats was Resurrection Makeover made by Fiji TV. The programme revives a deceased person by use of high tech make-over techniques, so a dead loved person can be re-united with a family member. The format clip shows a wife – who lost her husband (died of cancer) – encountering a look-alike actor at the house door and singing the wife beloved song.
Another remarkable format shown on Sky 1 was Dogs might fly. The show deals with 12 dogs that were picked from dog care centers across the United Kingdom to undergo all sorts of challenges, from a puppetry performance to a drum lesson, a speedboat ride, a rock performance to a drum lesson. The best performing dogs were trained to fly a plane.
The National Geographic programme Mygration gave an innovative twist to the well-known survivor format. The series follow 20 elite men and women who try to survive a six week journey across the African plains, and trace the paths of the African wildlife.
The last worthwhile tv-format to mention, is Stars of Science. The format was initiated by the Qatar Foundation for Education, Science and Community Development, an important innovation platform in the region. It is a Pan-Arab edutainment reality format that challenges 12 science and technology entrepreneurs to collaborate with industry leading mentors developing all sort of innovative products. At the end a jury supported by public voting decides upon the four winners of the challenge, who take a share in a $600.000 prize.
I wonder which extreme and innovative formats will appear in 2017.
Senior Media and Research consultant
“Sitting down is the greatest threat to health”
Eurobarometer research (2014) revealed that 25% of the Dutch and Danes spend over 8.5 hours a day sitting down. The Portuguese, Maltese, Slovenes, Romanians and Hungarians Dutch spend 2.5 hours or less a day sitting down. According to the Dutch lifestyle monitor (RIVM) teenagers sit down for over 10 hours a day. Lessons home, doing homework, playing on computers and using tablets contributed to this lifestyle. Sitting down is associated with an increased risk of obesity and early death, even among people who exercise regularly. Health experts advise to improve lifestyle by taking the stairs more often, bike or walk to school, contact your colleagues face-to-face instead of using mail or Whatsapp, set the alarm on your mobile to take a walk or walk through the house while calling a friend etc. An inspiring thought for a new reality show?
Not only a sedentary lifestyle is bad for health, working without any challenges contributes for a bad mental health. It is one of the reasons why many organisations are experimenting with swapping employees. Recently the Dutch Regiomatch – in which more than 20 organisations participate – started swapping jobs to stimulate productivity and creativity.
“Employees stay healthier when they swap work places”
Most employers believe swapping employees is bad for the loyalty to the organisation. The Regiomatch experiment shows that swapping simulates the organisation and the employees. The Dutch public transportation organisation GVB swaps security staff with apublic hospital VUmc. The exchanged staff is more productive, healthier and creative. So cooperation between HR departments can improve mental health. Earlier TV formats like Extreme Job Swap (Zodiak) and Beroepen zonder grenzen (Professions without frontiers) at Belgium channel Eén) focused on the differences between jobs but not on the health issues.
Another way to improve the physical health of employees is to change dietary patterns. So the Danish government supports the “Økologiplan” Denmark campaign with a €54 million.
“Organic agriculture is getting popular”
By 2020 the biological farmland must be doubled. The Danish dairy giant Arla welcomed the government’s plans: in 2015 Arla sold a record amount of organic daily products to the Danish public sector. By 2020 the biological farmland must be doubled. The Danish dairy giant Arla welcomed the government’s plans: in 2015 Arla sold a record amount of organic daily products to the Danish public sector. Will this be a good idea for a serious documentary?
Senior Research and Media consultant
Gary Carter – former COO of Fremantle media – pointed out at the MPJC congress in 2012 that successful television formats travel in as many countries as possible. But with the arrival of social media as Twitter, Facebook and YouTube this is no longer the case.
Today format producers can monetize video productions in different ways. Amazon Video Direct – launched in May 2016 – offers producers a 55% share in advertisement revenues and YouTube offers a 68% share. A video as Gangam Style distributed by YouTube and reaching a billion views in 2013, yielded almost 8 million dollars of revenue.
It is one of the main reasons why traditional TV networks all around the world invest in the their own online distribution platforms or platforms as YouTube. This year Rupert’s Murdoch 21st Century FOX and Sky invested 15 million dollar in its own online streaming service FuboTV. A subscription to the service costs 10 US dollars per month, and the service offers different sport channels, series, documentaries in Portuguese, Spanish and English. A major player in the Dutch market RTL Nederland now provides a MCN, distributing Dutch spoken web series, celebrity video content and regular TV-content. The company also owns a majority stake in the MCNs Divimove and Stylehaul. The digital strategy of the organization is aimed at creating reach, content production and distribution of content.
Especially traditional TV-networks can’t hang back due to severe competition from different new media companies. On the one hand because a large international player as Netflix globalizes and distributes films and series in more than 130 territories including the major Asian markets as China, India and Korea. According to Netflix CEO Reed Hastings – keynote speaker at the Consumer Technology Assocation (2016) – this will continue in the coming years. On the other hand Netflix is also investing in the production of local fiction and non-fiction as series like Crown (UK), Marseille (France) and Suburra (Italy).
But also private video platforms like the Dutch Makers Channel (beauty, comedy and cooking etc.) and Belgiam WeZooZ (animal, recipes, mobility etc.) compete with traditional TV networks by producing their own content. And we not even mentioned important global players as YouTube and Apple Music, that produce their own web series. This year Apple Music (March) launched the Score, a docu series that explores local music scenes around the world like a new hip-hop style originating from the Ojibwa tribe living in the Minnesota’s Red Lake reservation. And Apple Music announced the launch of a six-episode drama – Vital Signs – produced by none other than Dr. Dre.
Even branded video channels of Burberry challenge traditional TV networks by debuting on Apple TV. The channel spotlights its fashion collections and offers beauty tutorials from make-up artist Wendy Rowe and shows original movies from Burberry’s Acoustic musicians.
The result of the emergence of new video platforms is that even the licensing of video formats is no longer the exclusive domain of traditional TV networks, producers and distributors. The American Fine Brothers Entertainment – owner of the famous YouTube REACT channel – started licensing various shows to other video channels. Shows included are the video formats Kids React, Teens React, Elders React, Adults React, React Gaming, Do They Know It, People Vs. Food, Lyric Breakdown, Try Not to Smile or Laugh, Opinions and People Vs Technology videos. The most well known format is ‘React format’. In Kids React one can see reactions of kids to a video game viewed at the Mine Cart channel, followed by clips of children reacting to questions as why they are watching or not watching the Mine Cart channel. The adult version of the ‘React format’ shows adults reacting to performances of the famous singer Prince.
But are traditional TV networks no longer suited to monetize on TV formats? Perhaps it is not so bad at all, because many video platforms like to bring their video formats to television. In 2015 the US video platform Vice announced to produce 37 news specials for the American pay channel HBO and the Dutch MCN Social 1nfluencers distributes its content of well known vloggers (the video format Nice friends/ Fijne Vrienden) at the lineair SBS channel Veronica and the SBS’s internet channel S1.tv.
Probably traditional TV networks can limit the damage of diminishing revenues by following a multi screen digital strategy.
Senior Research and Media Consultant
Today we launch our new website (www.klappercom.nl) and our new research tool ReelRater™. The tool is developed in co-operation with technology provider ActiveReaction. The tool measures the moment-to-moment likeability of YouTube videos, TV commercials and programmes, radio programmes, promos and trailers. ReelRater™ is not an app, but it runs in any standard browser. Placing a link on your website or social media platform is sufficient to enable communities or access panels to rate your content. In this blog we like to show you how the tool can be used to optimise a branded YouTube channel.
We use a recent study to illustrate this: a YouTube channel of a premium Dutch brand. The channel predominantly distributes ‘how- to’ videos and instructional videos, of which two video formats are examined. The aim of this study was to assess the likeability of a ‘how-to’ video (duration 4:20 min.) and an instructional video (duration 3:30 min.). In addition, we aimed to assess the willingness of viewers to like the videos, comment on the videos (engagement) and subscribe to the channel (action). The sample consisted of high educated youngsters group aged 18-30, who used the ReelRater™ tool to rate the videos moment-to-moment (quantitative response) with their smartphone, tablet or laptop. Each individual viewer was asked to explain his/her highest and lowest scores (qualitative response) by means of open questions. Finally the viewers filled out a questionnaire.
Likeability of the videos
The graphs below show the moment-to-moment (MTM) likeability responses to the examined videos. The videos are rated by two different groups. The horizontal axis represents the elapsed time and the vertical axis represents the average likeability measured on a 10-100 scale.
The MTM scores of the instructional video (left) shows a rather zigzagged pattern. The scores decline in the first 40 seconds, indicating a high probability of viewers leaving the video and stop viewing. The decline is followed by a gradually rise in scores unto the second minute, where after the scores drop again. The main reasons why certain parts of the video score relatively low, is the mismatch between information supply and demand. Most of the information is already known and is rather obvious. Moreover, the cutting rhythm of the video is perceived as too slow.
The MTM scores of the ‘how-to’ video also fluctuate. The first 32 seconds of the video show a decline in scores, followed by a? rise. Scores between 0:56 minute and 1:20 minute again fluctuate, but rise from the 1:24 minute. The viewers were also asked to explain the low rated parts of the video. Viewers again ascertain a mismatch between viewers’ knowledge and informational content of the video. As with the instructional video the viewers’ point out that the cutting rhythm is too slow. Furthermore the voice-over doesn’t appeal the viewers.
Engagement and action
A frequent used method of determining the engagement of your audience with video is to look at how many times the video is liked or commented. Behavior is frequently measured by the number of people subscribing to a branded channel (see image below). For this reason we asked the viewers about their engagement and intention to subscribe to the channel.
It is striking that the intention to become a subscriber to the YouTube channel does not differ between viewers who see the instructional video and viewer who see the ‘how-to’ video. But viewers who see the ‘how-to’ video are more likely to comment upon the video than viewers who see the instructional video. There is only a small difference between the two groups of viewers when it comes to liking the video.
How can one optimise the videos (‘how-to’ video and the instructional video) based on the findings of this research?
First, the relevance of the content across the videos could be improved by providing more in-depth information. The intros of the videos can be mounted more exciting and faster. The viewer must indeed be tempted to watch out the entire video.
Second, the order in which the information is presented on the basis of the viewer’s evaluation of the various sequences can be improved. And also the cutting rhythm with which the information is presented, could be increased too. Finally adjustments can be made on the recording of the voice-over to make it more smooth, clear and enjoyable. The improvements of the videos will optimise the YouTube channel and will probably increase the video interaction.
If you have any questions or remarks, please click the comment button beneath this blog.
Senior Media & Research Consultant
Deze week werd door IMMovator het eerste Cross Media Café van dit jaar georganiseerd, met als thema online video formats. De onderwerpen varieerde van meer technische onderwerpen zoals 4k televisie en videoherkenning tot trends in online video formats. Als media consultant die vooral in online video formats is geïnteresseerd, was het even doorbijten om uiteindelijk bij de trends te belanden. Welke trends in online video formats kwamen zoal aan bod?
De online branded content video
Na de eerste twee sprekers bleek het programma toch meer samenhang te vertonen dan in eerste instantie gedacht. Uit het verhaal van EndeMol/Shine bleek dat branded video formats – veelal gebaseerd op bekende tv-formats – de aandacht hebben bij de televisieproducent. Er worden inmiddels voor verschillende partijen branded video formats geproduceerd waarbij de producent zelf het risico draagt. In feite biedt de producent ook video formats aan buiten de tv-zenders om, op eigen IP kanalen. Het levert weinig spectaculaire formats op, maar de online branded video formats zijn goed geproduceerd en gepositioneerd.
De online 360 graden video
NewBeTV – producent van (branded) video content als TheTubeShow en tv-programma’s als Who’s in Who’s Outs (BNN) – toonde hun eerste 360 graden video format (virtual reality) over het nieuwe Nederlandse EU voorzitterschap. Inhoudelijk niet een heel sterk format maar het toonde wel aan dat 360 graden video’s een nieuwe beleving kunnen geven voor kijkers op YouTube en Facebook.
Deze trend zal zich ongetwijfeld gaan doorzetten in veel verschillende video formats op online platforms en televisie. Vooral ook omdat je de 360 graden video kunt navigeren met de mobiele telefoon of tablet of met een navigatieknop in Youtube.
De online nieuwsvideo
Ook worden online nieuwsvideo’s verder ontwikkeld. Na de komst van het online nieuwskanaal VICE, komt nu ook NU.nl met een nieuwskanaal gebaseerd op het ‘burgerjournalistiek-principe’, dat ook wordt gebruikt door de regionale omroepen maar nu in een veel hipper jasje is gestoken. Nieuwsfilmpjes van tablet- en mobiele telefoongebruikers gaan live gestreamed worden (met 5 seconde vertraging) vanaf het NU.nl platform. Een mooie toevoeging aan de vele online nieuwskanalen in Nederland.
De online gepersonificeerde instructievideo
Niet alleen worden online nieuwsformats verder door ontwikkeld, maar ook de online instructievideo krijgt een nieuwe impuls vanuit de meer technische hoek. Het bedrijf Red Nun
maakt het mogelijk om klanten een gepersonificeerde video voor te schotelen van energiebedrijven zoals Essent. Zo worden de data uit het CRM systeem van Essent ‘ingelezen’ in de instructievideo om de klant in een animatie te laten zien wat hij/zij over een bepaalde periode heeft verbruikt en hoeveel hij/zij terugontvangt of moet bijbetalen.
De online interactieve video
Naast individualisering van de instructievideo, krijgen online video’s ook steeds meer interactieve mogelijkheden. Een bedrijf als Movietrader maakt video’s ‘klikbaar’ waardoor kijkers allerlei informatie kunnen opvragen tijden het bekijken van een video.
De belangrijkste conclusie van deze interessante middag was eigenlijk dat online video een belangrijke nieuwe impuls krijgt door het gebruik van personificatie en interactiviteit. Ook inhoudelijk worden online video formats vernieuwd, dat vooral tot uiting komt in het gebruik van User Generated News Content in nieuwsvideo formats.
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Het dagelijkse lifestyle magazine BinnensteBuiten (NPO2) wordt ook weer in januari 2016 uitgezonden en uitgebreid met een weekendeditie met hoogtepunten van de week. Elke aflevering bestaat uit 3 onderdelen: een zelfgebouwd huis, een gezond recept en een groen onderdeel in de vorm van een natuurwandeling of een tuin make-over. Prachtig om te zien hoe mensen hun zelfgebouwde huis tonen aan de kijker, hoe mensen vertellen over bonen die ze kweken, en hoe een boswachter de natuur in detail laat zien. Allemaal verhalen vol van bezieling, passie en trots.
Huizenprogramma’s als tv-trend zijn begonnen met de make-over programma’s die er nog in grote aantallen zijn, gevolgd door ‘huizenjachten’, waarin makelaars mensen helpen te (ver)kopen, en de laatste jaren is er een dimensie bijgekomen: het zelf bouwen. Naast de KRO/NCRV met BinnensteBuiten valt op dat vooral SBS6 zelfbouwprogramma’s uitzendt, zoals Je eigen droomhuis waarin het proces wordt gevolgd.
Engeland heeft al jarenlang zelfbouwprogramma’s. C4 zendt al 15 jaar lang Grand designs uit. Het programma is wereldwijd verkocht en is in Nederland te zien als De grote verbouwing (SBS6). Hierin gaat het om grote bouwprojecten waarin bewoners zelf hun architectonisch verantwoord huis bouwen waarin het gaat om stijl en design. Een tegenovergestelde vorm van zelfbouw is te zien in het andere C4 programma’s Amazing Spaces (sinds 2007). Hierin volgt presentator George Clarke mensen die een gebouw of iets geheel anders zoals een oude touringcar ombouwen tot een eigen woning. Het gaat hier juist om kleine ruimtes die zo efficiënt mogelijk worden verbouwd. Net als de bijzondere ruimtes zijn de verhalen ook ‘amazing’.
In de VS zendt HGTV al 15 jaar Extreme homes uit. Hierin worden bijzondere woningen over heel de wereld getoond aan de kijker, zoals ook een Nederlandse woonboot. Nu is de Tiny House Movement in opkomst daar, voor mensen die zich minder willen binden en/of willen minimaliseren. Sinds 2014 worden in Tiny House Nation en Tiny House Hunting (beide te zien op FYI) mensen geholpen kleiner te gaan wonen of een tiny house als vakantiewoning willen hebben. Het expert team van bouwers maakt hun droom waar.
De droom, de initiatieven, het eigen ontwerp, de natuurlijke materialen en de beeldende verhalen maken dit soort huizenprogramma’s boeiend. De programma’s sluiten aan bij de huidige trends als ambachtelijk, energieneutraal en hergebruik. Daarnaast sluit de snelle/kleine woningbouw aan bij maatschappelijke ontwikkelingen, nodig voor starters, vluchtende mensen uit oorlogsgebieden, en de oudere medemens die langer voor zichzelf moet zien te zorgen. Van ons mogen er in 2016 nog veel voorbeelden volgen op televisie.
Big data is trending topic in the world of digital media. A search on the internet yields almost 700 million hits. So something must be going. Many media conferences have been devoted to the subject. Recently the Immovator conference in Hilversum The Netherlands – at April 23th 2015 – presented 7 cases about big data and media. But in fact most of the cases dealt with small data.
The reason for the confusion is the different interpretation of the big data concept. Technical bloggers like Andrew Brust (2012)mostly point out that big data is “all about the technologies and practice of handling data sets so large that conventional database management systems cannot handle them efficiently, and sometimes cannot handle them at all.”
But this is not what big data in the media context is about. In the media context big data can better be approached as digital trails which are left behind by all types of users at social media like Twitter and Facebook, streaming media sites as Youtube, Multi Channel Networks, Netflix, RTL-XL and digital media boxes (Green,2015). So it is about scalable systems of unstructured data with accompanied tools that can pull structured data (Konkel,2013) and can be used for predictive analyses on media behavior. The cases presented at the conference were examples of new developed tools/methods for analyzing different (combinations of) digital trails of media user data.
The Immovator conference offered insights about the change in strategy of traditional broadcast networks in The Netherlands.
First of all the content strategy is becoming data driven. It means that tv-format creation will no longer be based on instinct but on media trail data. RTL Nederland showed that content intelligence will be part of the future content strategy of the network. The data of the different streaming video platforms like RTL-XL, RTL Multi Channel Network and NL ziet will be used for new predictive analysis. The data can help the television eco system to derive their next hit, like the decision of Netflix to commission the production of the House of Cards format. Analysis of the Netflix platform data showed a large potential viewers interested in Kevin Spacey, David Fincher and BBC political drama. So Netflix commissioned the production the House of Cards series to Beau Willimon.
The data of the streaming platforms can also provide information about actors (image recognition data), narratives (subtitling data) and themes which drive viewing behavior and could influence the future production of tv-formats and decisions for the purchase of foreign fiction and non-fiction.
Second, media trail data will play a more important role in the promotion of program related content. Dutch pubcaster BNN/VARA analyses the online platform data to match the posting of content by the editors with the user activity on the social media platform. The graph shows discrepancy in time slot between supply and demand of social media content (format De Wereld Draait Door). The social media content is provided far before the user activity on the social media.
The conclusion is that traditional broadcasters are adapting the content strategy of many Video content channels like Netflix and Youtube and use data for decisions about production, creation, promotion and buying of content. It’s the first step from instinct to content marketing.
Brandon, J. (2014). How ‘Big Data’ could help TV networks make better shows. Retrieved 30-04-2015, from http://www.foxnews.com/tech/2014/10/01/how-big-data-could-help-tv-networks-make-better-shows/
Brust, A. (2012). Big Data: Defining its definition. Retrieved 30-04-2014, 2012, from http://www.zdnet.com/article/big-data-defining-its-definition/
Green, A. (2015). Big data and audience measurement. Retrieved 30-04-2015, 2015
Hawkins, S. (2015). 4 Ways Big Data will impact television and film. In Mediasilo. Vol. 2015.
Konkel, F. (2013). Defining Big Data. Retrieved 30-04-2015, 2015, from http://fcw.com/blogs/conversation/2013/04/defining-big-data.aspx
Mandese, J. (2014). From the ‘Big 3’ To ‘Big Data:’ TV audience targeting comes of age. Retrieved 30-04-2015, 2015, from http://www.mediapost.com/publications/article/216768/from-the-big-3-to-big-data-tv-audience-target.html