When it comes to determining which TV shows a brand should sponsor, TV show ratings certainly play a part, along with the content of the show. Not only should the show align with the brand message and core product, but it also has to have the numbers of viewers to make the investment worthwhile, along with the right demographic.
Saturday Night Takeaway has consistently drawn in large audiences. When the first episode of the new series aired on 21 March, it took the top spot of viewing numbers for that weekend with an average of 9. We can see that association of the brand with the TV show has clearly stuck.
SaturdayNightTakeaway is one of the main hashtags used alongside mentions of Deliveroo in the last 6 months. Another example of successful TV sponsorship campaigns is UK mobile telephone network giffgaff.
This was capitalised on by the brand who created an interactive element - a form of social TV. Each of the idents used before, during and after the programme showed different objects being blown up, and each time the audience was invited to vote on what should be blown up next. By involving the audience in this sort of decision making, they became invested in the sponsored idents and, by association, the brand , becoming active fans, rather than passive observers.
They have since taken this idea of social TV - i. Again, this was a great way to get viewers engaged with the campaign, and therefore giffgaff. And the final of the Voice UK in saw average viewership at 4. Track how your brand is being talked about. Marketing Mix Modelling MMM is often used to provide information around the effectiveness of a particular TV campaign on driving sales volume, or the incremental contribution of any channel on the entire marketing mix.
This is usually combined with TV spot attribution to get more granular insights, e. Another way of measuring ROI is around brand awareness based on brand recall at any given period of time. The rise of online streaming platforms such as Netflix and Amazon Prime that also create their own content has led to a decline in viewership on traditional TV. The way people view traditional TV has also changed, with each channel now offering their own on-demand streaming services, often with fewer adverts.
As mentioned earlier, this data is tracked differently by each platform, which makes it harder to come up with consistent TV ratings. Which should brands trust to make decisions on their marketing budgets?
With a smaller audience to access and a lack of transparency around TV show ratings, brands are already shifting their ad spends from TV advertising to online. This can generally be more easily tracked and measured than TV, enabling brands to more clearly see ROI on a particular ad campaign.
It also helps them to determine where money should be spent in future. This is a trend that started a while ago, but has appeared to accelerate during the pandemic. In addition to online streaming platforms, more and more people watch video content on social channels such as YouTube.
A recent Ofcom survey revealed that YouTube viewing by all UK adults has increased by 6 minutes a day since Variety Editor at Large. In an age when almost everything does between 0. The trend has been heading in this direction for a while, starting in , when Fox was the first to cease its daily ratings spins to the press.
Of course, we all still got the numbers and could call up execs to get their takes on hits and misses. But these press releases became a bit more embarrassing in recent years; who cares if you won the night with a 0.
ABC brass many of whom were at Fox when the edict was set have also pulled back on daily ratings reports, leaving just CBS — which has generally stuck with touting much more impressive total-viewer numbers, rather than those increasingly microscopic demos. The overnight numbers give a quick initial snapshot of how a show performed live, and offer a clue to how it might do via streaming on demand.
Ratings may still matter to advertisers, but the value of a show comes much later: Is it the kind of streaming binge that can be monetized as a subscription draw?
We might not know that for months or years. But much like how film analysis has adjusted to a world without box office punditry during these COVID times, taking away the daily ratings race has the effect of eliminating so much of the fun of television showmanship.
Execs of a certain age may recount calling network ratings hotlines at 6 a. Since it's a tall feat to measure the viewing habits of every single person in the U. It's the same technique that pollsters use to predict the outcome of elections. Nielsen recruits people to join its TV ratings panels and measures what they watch, how often they watch it, and how long they watch it.
Nielsen then extrapolates the data that it collects from these sample audiences to draw conclusions about larger populations. That's a simple way of explaining a complicated, extensive process. Around 20, households are included in the representative sample for the national ratings estimates. Though this number is a small percentage of the million homes with TVs in the U. Panelists are strategically selected. They provide Nielsen with information about their gender, household income, and ethnicity.
To measure how panelists watch TV, Nielsen uses a combination of panel data, data from cable and satellite set top boxes, and census data from digital devices collected through measurement tags in content. Meters installed on panelists' TVs track who is watching television and what they're watching. The meters send reports of panelists' TV viewing to Nielsen, and they collect information from signals from TV broadcasts.
To ensure reasonably accurate results, Nielsen uses audits and quality checks and regularly compares the ratings it gets from different samples and measurement methods. Things you buy through our links may earn New York a commission.
Its overall average audience 7. But not only is MWAP coming back for a second season, the network was so unconcerned with the aforementioned ratings, it renewed the show all the way back in March, along with similarly so-so performer Superior Donuts.
Instead, Man With a Plan and Superior Donuts — along with a slew of other similarly meh- rated shows across multiple networks — will return because of a much more fundamental shift in the TV landscape: In , how a show does in the ratings is often no longer the deciding factor in determining whether it lives or dies.
As long as revenue from advertisers remains part of the network TV business model, ratings will matter. Counting both broadcast and cable, ad spending on television fell behind digital platforms for the first time ever in , according to a PricewaterhouseCoopers report released last month. But since the whole reason ratings exist is to help networks determine how much to charge for ad time, it only follows that the less important ad money becomes, the less all-important those Nielsen numbers are.
NBC, for instance, decided to order another season of action-thriller Taken season-to-date rating among adults under 1. It ultimately ordered new seasons of both, but the fact that Taken had no problem getting renewed, while Timeless literally had to turn back time to get a second season says a lot about the primacy of economics versus ratings.
0コメント