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Reichweitenmessung und Mediennutzungsanalysen

Die Auswahl an Medieninhalten, Kanälen und Geräten ist heute größer denn je. Um das richtige Publikum für sich zu gewinnen, müssen Werbetreibende, Medieninhaber und Media Buyer wissen, welche digitalen und welche klassischen Kanäle das größte Potenzial für ihre Ziele bieten.

Unsere Daten im Bereich Reichweitenmessungen stellen nicht nur die Währung im TV-Markt (z.B. TV-Quoten), sondern auch in Printmedien, im Radio, bei Außenmedien, bei Online-Medien und bei mobilen Medien dar. Wir messen, welche Verbraucher auf welchen Kanälen unterwegs sind und wie sie mit Inhalten in den jeweiligen Medienbereichen umgehen.

Wir kennen die Vorlieben der Verbraucher. Unsere Kunden erhalten nicht nur detaillierte Bewertungen darüber, was sich Menschen ansehen oder anhören, sie erfahren auch, warum sie das tun.

Unsere medienübergreifenden Messungen zeigen, welche Geräte Ihr Publikum für jeden Kanal und jeden Inhalt verwendet. Innerhalb dieses gesamten Spektrums bewerten wir Ihre Marketingeffizienz und Leistung und helfen Ihnen dabei, die Auswahl an Kanälen und Inhalten so für ihre Ziele zu optimieren, dass Sie eine höhere Aufmerksamkeit erzielen und zwar auf lange Sicht.

Aktuelle Insights

Finden Sie hier aktuelle Insights aus den Bereichen Reichweitenmessung und Mediennutzungsanalyse.

    • 15/03/16
    • Media and Entertainment
    • Media Measurement
    • Austria
    • German

    Wie sich digitale und traditionelle Medien verknüpfen lassen

    Wir haben untersucht, welche Auswirkungen der Hype in den sozialen Medien gegebenenfalls auf die Leserschaft der gedruckten, vieldiskutierten Ausgabe von Vanity Fair, mit Caitlyn Jenner auf dem Cover, haben könnte.
    • 23/01/14
    • Media and Entertainment
    • Media Measurement
    • Austria
    • German

    Twitter und GfK geben Partnerschaft bekannt

    Twitter und GfK haben heute eine exklusive Partnerschaft zur Einführung von GfK Twitter TV Ratings in Deutschland, Österreich und den Niederlanden bekannt gegeben.
    • 22/12/16
    • Media and Entertainment
    • Media Measurement
    • Connected Consumer
    • Global
    • English

    Queen Elizabeth II – The jewel in the Netflix Crown?

    Released in its entirety on November 4, 2016 and reported to have cost around £100m to produce, The Crown is one of the most ambitious projects that Netflix has taken on to date. A 10 part original series (essentially a biopic) about Queen Elizabeth II, recounting her life from the royal wedding in 1947, right up to the present day, the show has been celebrated by all sides of the media, frequently being described as “faultless”, “magnificent”, “engaging” and “gripping”. So what do we know so far about The Crown’s first few weeks on the service? Firstly, amongst our sample of Netflix users, The Crown was the top streamed title on Netflix in November 2016, showing that the release has been heavily streamed amongst users. But what was driving users to the show? Sheer curiosity or perhaps something else?

    Netflix’s Marketing of The Crown

    30% of Netflix users said they watched The Crown because it was recommended to them by someone, or simply because it looked and sounded interesting. However, a third of users also said that they had watched the series because it featured in the ‘recently added’ section of the service, and half also claimed that external advertising had influenced their viewing choice. It is clear that Netflix were determined for this to succeed – not only was the show expensive to produce, but campaign spend across all media for The Crown was one of the highest of 2016  ensuring that the investment would not be appreciated by just users, but also reach and appeal to a wider audience. Finally, in November, compared with the rest of 2016, a higher proportion of respondents say they signed up to Netflix in order to watch exclusive content not available elsewhere. However, the jury is still out as to whether The Crown itself was driving this. Early indications are that it attracted existing users to view rather than acted as a drive to sign up new ones.

    Who was watching The Crown and why?

    In its first month of release, the demographic profile of those watching The Crown has shown some interesting results. Firstly, a fifth of the show’s viewers are aged 55+. This is a slightly higher proportion of older users watching than for Netflix content overall and also in contrast to new releases such as Stranger Things, which primarily attracted a younger audience within its first few weeks of release. It does highlight the strength of Netflix’s commissioning policy, allowing them to target different types of viewers by commissioning shows with differing demographic appeal. When asked why they started watching the title in the first place, respondents mostly indicated that it was because they had a general interest in the Queen or the Monarchy or because they wanted to find out more about this period of time in British history. But what is remarkable is how few people said they started watching the title because of the A-list cast that has been employed (Claire Foy and Matt Smith both star), or because of the quality of the production for the title, further demonstrating that this title was perhaps designed to target an audience of lighter viewers less engaged by marquee names and more by the program content.

    Was The Crown a success?

    Defining a success when talking about Netflix titles can be difficult. If we look at overall content ratings, The Crown performed well. When asked to rate the show on a scale of 1 to 10, The Crown achieved an average score of 9.0 which is higher than all  Netflix titles that score an average of 8.7. Compared to other recent celebrated titles, such as Stranger Things, Making a Murderer and Narcos, The Crown achieves relatively similar levels of satisfaction. Furthermore, when we look at whether viewers are likely to recommend this title to others (again on a scale of 1 to 10), it scores in line with Netflix Originals on average, but slightly lower when compared to recent releases. So in terms of satisfaction and recommendation, The Crown can be called a success, but perhaps more was expected from this title, given the scale of investment into the show. Overall though, The Crown can be considered a success. Critics and viewers have both celebrated the show, and early data is indicating that the title is both driving viewing as well as appealing to a lighter viewing audience demographic for Netflix. Furthermore, exposure for the SVOD service has also increased due to positive press attention and increased marketing activity. Content producers like the BBC and ITV must have taken notice at the bigger financial bets Netflix are prepared to make to increase their audience shares, which must ultimately leave them slightly nervous about the future, and fortifying Netflix’s position as a serious threat to such traditional players in the media landscape.
    • 25/11/16
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    GfK spins out Genius Digital’s Subscriber Intelligence Business

    Genius Digital has been bought back fully by its founders. GfK retains the powerful return path data and analytics capabilities which have grown substantially under GfK’s ownership.
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