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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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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

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Thinkbox Event – TV & The Brain: How Creativity Wins

Brain

Last Wednesday, I attended the Thinkbox event TV & The Brain: How Creativity Wins. The half-day conference explored how psychology plays a role in brand communications and advertising. The argument is that we should be looking towards the emotional and not the rational.

As a researcher, this is a challenge. Rational messages are easy to measure – emotions aren’t. I went into the event wanting to build up my knowledge on the theory, to learn of any practical applications and to leave with ideas on how to improve our understanding of advertising evaluation.

The event was split in two – half on theory, half on application. Personally, I found the first half far more rewarding. My knowledge of psychology was limited to Malcom Gladwell books, but the three excellent speakers broadened my horizons considerably and left me with a lot of things to ponder. I found the second half a disappointment. There were few specifics and the talks were dangerously close to sales pitches.

Tess Alps, Chief Executive of Thinkbox, opened the event in the customary fashion of selling TV as a medium. Continue reading

Online video: Today and tomorrow


Photo by http://www.flickr.com/photos/blake/

MediaGuardian reports that the BBC iPlayer is seeing significant growth while ITV.com has been left “trailing”. This isn’t necessarily a bad thing for ITV, nor the other commercial broadcasters. In this situation, a smaller piece of a bigger pie is better than a large piece of a small pie. With new and emerging technology, the major battle is for it to gain traction and acceptance among the mainstream. Fortunately for ITV et al, not only does the BBC have the muscle (and the inclination) to do this, but its unique status means that there will only be limited opportunity for advertising revenues. Once the technology embeds, this leaves it the smaller, commercial rivals to battle it out with the Joosts, babelgums and so on for the cash.

Furthermore, there is a rather large Kangaroo looming on the horizon, and it has yet to be finalised how this is to fit in with these different offerings. At the launch it was announced:

BBC iPlayer content will be listed within the new service, while Channel 4’s website will host a catch-up service which will see 4oD “evolve into the new [Kangaroo] service”.

Channel 4 are suitably vague, while there is no mention of how ITV.com, Five Download (notably absent from the launch) and any other eager player will fit in alongside this service.

Interesting, a quote from the article read:

“Right now, however, the big winner is YouTube, which accounts for over a third of online video viewing, according to comScore,” “This suggests that short-form entertainment may be more appealing to internet audiences.”

Can the iPlayer and the Kangaroo buck this trend, or will it be the clips that drive online video usage. For me, that will be decided by future broadband speeds. My online viewing is rarely planned, and so I prefer to stream low quality clips than plan a high-quality download. If only I lived in Japan.

sk