03/04/2017 For Frédéric Vaulpré, Vice-President of Eurodata TV Worldwide, "Everywhere around the world, new TV practices and contents are emerging with the addition of internet screens (computers, mobile phones, tablets) and the development of catch-up platforms. Audience measurements are evolving throughout the world to take into account all these new usages."
For Sahar Baghery, Head of Global Research and Content Strategy at Eurodata TV Worldwide: "In order to attract new viewers, particularly young ones, television channels are taking risks and offering new experiences, with more interactivity and accessibility and innovative formats. Entertainment and series maintain a great dynamic and attract a massive audience”.
For Frédéric Vaulpré, Vice-President of Eurodata TV Worldwide, "Everywhere around the world, new TV practices and contents are emerging with the addition of internet screens (computers, mobile phones, tablets) and the development of catch-up platforms. Audience measurements are evolving throughout the world to take into account all these new usages."
4-Screen and catch-up measurement progressing worldwide
Worldwide, a large majority of countries have either developed or are preparing to develop TV audience measurements capable of accurately reporting the importance of new viewer trends. In 2016, 40 countries measure time-shifted TV watching (catch-up + personal recording). While France and the Netherlands have already released a 4-screen TV audience measurement, 13 other countries are planning on launching it very soon.
The first results confirm an increase in the power of this trend. Viewers spend an average of 16 minutes per day on time-shifted viewing in around 30 countries that measure time-shifting. This represents an increase of 7% in time spent compared to live TV. In both France and the Netherlands, watching TV on a smartphone, tablet or computer is already common practice: in December 2016, one out of five French people watched TV on one of these screens; throughout the year, half of the Dutch population did the same. In terms of preferred screens, computers are ahead of tablets and smartphones. These are the screens that attract the most young audiences: in the Netherlands, 50% of 3-screen viewers are young adults aged 13-34 years. On the TV set, however, they amount to only 17% of viewers. This has a direct impact on the types of content which benefit most from the 3 screens and which often target young audiences. For example, lesMarseillais South America registered a 40% increase in internet screens. In Sweden, a series such as Homeland can amass up to 35% more viewers thanks to these screens.
These new practices are emerging as live TV consumption is decreasing. In the 93 territories covered by EurodataTV, this consumption was 3 hours in 2016, compared to 3 hours and 3 minutes in 2015. This very marginal decrease of 1.6% affected all the continents except South America.
Immersion and interactivity at the heart of innovative digital strategies
To attract viewers, broadcasters are increasingly offering immersive experiences. Virtual reality is therefore a great tool which is mostly used for large, live events. For example, thanks to a new TF1 app and a virtual reality headset, viewers can turn into a coach for The Voice. Offering a digital experience is all the more important since over 200,000 viewers in France watched the launch of the new season on a tablet, computer or smartphone.
Accessibility and exclusive mobile content attract Millennials
To attract unpredictable, young audiences, social platforms are an attractive solution for content editors thanks to their low costs and, most importantly, the strong presence of younger people on these networks. In this context, Snapchat is the leading network and represents a unique opportunity to reach Millennials, who are very much attached to their mobile phones. Entities such as ABC Television Group or NBC Universal caught on quickly and made deals with this platform: NBCU invested in exclusive Snapchat content, like a spin-off of Late night with Jimmy Fallon and Saturday Night Live Stories. More recently, Vice has announced the launch of original content for the platform.
Factual and Entertainment, attractive new programs
In addition to these innovative digital strategies, new attractive content is emerging. In 2016, Entertainment represented 36% of the top 10 best programmes worldwide (excluding sports). Factual represented 21%.
Among the latest trends in factual programmes is the quest for answers about ourselves or others, personal introspection or critical thinking about established facts. Origins: the journey of Humankind, aired in March of 2017 on National Geographic in the United States, reinterprets key historic moments such as the discovery of fire, the development of medicine and the institution of money. The show mixes scripted scenes, documentary sequences and expert analyses.
When it comes to entertainment, certain brands stand out worldwide. In 2016, the three most popular formats around the world were: The Voice, n 14 countries’ tops, Your face sounds familiar (12 countries) and Got Talent (10 countries). When it comes to new hits, "crossover formats“ - hybrid format combining two different genres - particularly "crossover datings", are extremely popular. For example, Sweden's TV3 programme Handy man wanted combines home renovation and dating: each participant meets 6 workers and selects one to keep at the end.
Empowerment, this year's trend in fiction
In 2016, fiction accounted for 43% of programmes in the top 10 best shows worldwide. For a few years now, American franchises such as The Mentalist and House have been giving way to other parts of the world. Turkey and Russia rank higher than India and the United Arab Emirates as countries in which locally produced fictions haven taken a spot in top international fictions.
This year, a large number of series emphasized the concept of "Empowerment" , in which characters take control, assert themselves and stand up for their choices and their rights. In the comedy series Amigo's, aired in January 2017 on VTM in the north of Belgium, five ex-inmates try to restart their lives by opening up a restaurant together, but not everything goes as planned.
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