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    This is the personal blog of Simon Kendrick and covers my interests in media, technology and popular culture. All opinions expressed are my own and may not be representative of past or present employers
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Keeping up with catch-up

I don’t own a DTR (it is a heritage from working with Digital UK in the past that I persist with that name, even though most people I speak to use PVR) or DVD Recorder, and my VCR only works when the TV is turned on (it is a combo). I also happen to spend more evenings out than I do at home.

In the past, this made watching TV series difficult. Particularly with the trend towards series narratives rather than standalone episodes (am I correct in thinking that X Files was a major influence on this move?). There would be little point even attempting to watch a series.

I would end up waiting for the DVD. With a show such as Spooks, that was risky. The DVD would come out a fortnight before the new series started on TV. I would be in a race to finish the DVD before the new promo shows were published. “Who’s that person”? “Where has that character gone?”. Very frustrating.

However, that was in the past. I now have online video to catch up.

This means that, for the first time ever, I was able to keep up to date with Spooks. Indeed, I was even home last Monday night and so got to watch the final episode on TV.

And I can also look forward to watching Demons next year without worrying about whether I am home when it is broadcast.

Demons is a new drama series, and this highlights two other benefit of catch-up. Series stacking and wait-and-see.

My prior reliance on DVDs has influenced my viewing behaviour. Particularly with cliffhanger shows such as 24 or Lost, I have to watch several episodes at once.

SIDENOTE: This may be the reason why I didn’t think Series 2 and 3 of Lost were as bad as other people say. Watching 4 or 5 episodes at once dulls the effects of the odd terrible episode.

And given that I am out quite a lot, I have limited time to watch TV shows and am wary in investing in a show that turns out to be terrible.

Catch up gives me time to measure up a show through listening to reactions of critics and views. The iPlayer has enabled full series stacking for some shows (including Spooks) and the 30 day window on ITV.com and 4oD means that I can wait until 4 episodes in to decide if a show is worth watching.

I lose the “watercooler” chat the following day (for the interim period), and some spoilers may be revealed, but this is a trade-off I’m happy to make for some types of programme. Liveblogging and office banter may make Event TV shows like X Factor even more interesting, and to some extent these shows are “VOD proof”. But other shows benefit from their exposure to catch up.

For me, using VOD to catch up on a drama or comedy either that week or that series has actually led to me watching more TV. I may not be the most representative viewer out there, but this isn’t something that should be overlooked.

sk

Image credit: Me (I rent – the curtains aren’t my choice)

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Why original video content doesn’t perform as well as TV show webisodes

uglybettyNewteevee have reported that ABC are finding that their original online video content does not perform nearly as well as webisodes of shows such as Ugly Betty.

This isn’t a fair comparison. Ugly Betty is one of the biggest shows on ABC; how does traffic for smaller programmes compare to original web content?

A clear distinction should also be drawn between original content and additional content. Additional content has a clear advantage in having a ready-made audience.

The article concentrates on short-form content. It is worth pointing out that long-form catch-up content behaves differently – Ugly Betty’s catch-up performance may not be as strong. This makes sense as not all shows necessarily have repeat value – if lots of people are viewing it on TV then there will be fewer wanting to watch it online.

Though, Ugly Betty has two characteristics that make it more likely to be viewed in catch-up. The first is demography – younger people are likely to be more active and more in need of a catch-up service. Hence shows targeted at 16-34s will find they have a greater percentage of their total audience viewing after the event. The second is genre. Comedies aren’t as critical to be viewed live as sport or reality content (and personally, I prefer to “series-stack”).

But, ultimately, live viewing has the lure of being able to watch new content immediately, and being able to participate in watercooler chat the other day. This is why we find there is a skew in top shows online compared to top shows on TV – check out these stats for single episodes views from the BBC and ITV. They are quite different to top TV episodes.

Short-form content, on the other hand, is additional content. Viewers of this are therefore going to be very closely tied with programme viewers. Passionate advocates of a programme are going to be those that watch live and those that consume the additional content. Using the Coronation Street example (as I repeatedly do), the viewing figures for alternative versions of a character’s death were huge.

I’ve already posted on how TV and online video are complementary rather than contradictory. But it is worth repeating that web traffic to TV channel websites (at least in the UK) is closely correlated to viewing audiences. Big event shows bring in mass audiences viewing live. In pure scale, there are going to be more advocates who want to consume additional content. But these types of show also have very high levels of engagement. If people are talking about a show, they will want additional content to fuel their chat.

This isn’t meant to do original broadband content a disservice. I am a big fan of made for broadband shows – as this list of twelve web series to check out should indicate. They have many benefits, particularly to brands that can explore ways to interact with consumers in a creative and entertaining manner. This article from Broadcast magazine explores this concept, and includes some of the great research done by the people at Futurescape.

Merely, it is simply to highlight the unfair comparison. People visit the websites of TV channels with specific content in mind – they rarely go to browse. TV programmes have much greater visibility and consumption than web-only shows, and it is only natural that they contribute the majority of traffic

sk

Moving TV content online complements; it doesn’t cannibalise

Image credit: http://www.flickr.com/photos/28481088@N00/

My opinion is not as dogmatic as the title of this post might suggest, but on balance – for most shows, most of the time, at this point in time – the benefits of moving content online (both the original broadcast and additional material) outweigh the drawbacks.

1. Is there a link between the two platforms?

Firstly, to be able to complement or cannibalise, traffic for the two platforms needs to be dependent on one another.

This is plainly the case in the UK, where growth in online performance mirrors TV ratings.

Over the past year, according to Comscore, Channel4.com saw traffic spikes in January and June – when Celebrity Big Brother and Big Brother respectively were broadcast. ITV.com saw spikes in November and May. X-Factor and I’m a Celebrity… are shown in November, and the May schedules contain Britain’s Got Talent.

In addition, when asked, most people on TV websites are there for a specific reason. Some people are just browsing, or have been redirected from somewhere else, but mostly people are looking for information or content around a particular show, series or genre.

2. Won’t moving TV shows online reduce the audience that watch it on TV?

Maybe. Probably. But not certainly.

There are three main reasons for my belief that benefits of fragmentation outweigh drawbacks.

i. The Internet has a different core audience and user experience to TV. The overlap between TV and online is smaller than that between terrestrial and multichannel TV (particularly as digital switchover gets closer).

If one is worried about fragmentation, the proliferation of repeats on the same channel, the +1 channel and the digital family must surely be of greater concern.

ii. Watching TV online is about catching up; not replacement. By far the most popular reasons for watching TV shows online are that the original broadcast was missed, either because the viewer was away from the TV or because they were watching something else. Few choose online at the expense of TV.

The research that Thinkbox and the IAB carried out earlier in the year back this argument up, although their findings have to be caveated with the audience (16-54 heavy/medium Internet users with multichannel TV).

Similarly, research from the IMMI (link is a pdf that directs straight to the report) in the US indicates that few people start watching a TV series via catch-up. They initially watch via TV but move online at a later date – possibly because they missed the broadcast or because they happened to be online when they wanted to watch it.

immi-research(Click through to see a larger version of the chart)

iii. At this stage, the majority prefer watching content on TV.

The Thinkbox/IAB work found that 3 in 5 say that screen size limits their enjoyment of watching TV online. Until people figure out how to plug their Internet connection into their television, the experience isn’t going to be the same. And as TV moves ahead with high definition broadcasting, it will be interesting to see whether the online network providers can cope with matching that data quality.

Furthermore, simulcast still isn’t universal and for some shows the live experience is integral to the enjoyment of the programme.

In summary, people will continue to watch TV shows via TV if they can. But if they are unable to, moving the content online offers them a convenient opportunity to catch up at their leisure.

3. Do viewers care about additional content online?

My answer to this is an emphatic yes. One of the great things about the Internet is the low cost of experimentation, so sceptics can run mini-trials without any great outlay.

Initial wisdom suggested that this would only work for some shows. The Heroes 360 experience has been phenomenally successful, but the Heroes audience is primarily young and tech savvy. Similarly, the BBC has provided additional online content for shows such as Spooks and Doctor Who, where people can play games and find out additional plot points.

When done well, this content may be very powerful. In The Truth About Marika, the conspiracy theory was so convincing that a quarter of the show’s audience actually believed it was real.

But engaging with TV content online is becoming a mass activity. The growth of laptops has enabled people to consume TV and Online content simultaneously, as this chart from Thinkbox/IAB suggest (again clickthrough for a larger version).

If people enjoy a show, they will go online immediately to find out more about the storyline. Not just for Heroes, but for other shows. In the weekend after a major character’s death in Coronation Street, alternative versions of the death were viewed 650,000 times.

This approach has twin benefits. It rewards the biggest fans with additional information on their favourite characters and storylines. But it also creates new advocates. Casual fans consuming this content online, either by accident or design, may be won over, increasing the chances of them not only watching the TV broadcast themselves but also promoting it to their friends.

And word of mouth isn’t a bad thing to be able to harness…

sk

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