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Media Measurement

Consumers have more media content, channels and more choice of devices than ever before.

Advertisers, media owners and media buyers need to identify which digital and traditional channels are most successful at attracting the right audiences.

Our audience measurement solution is the trading currency for television (e.g. TV ratings), print, radio, out-of-home, online and mobile media. We track which consumers are using what channel, how they are engaging with content across each medium and what is driving their behavior.

With this detailed view of consumers’ content appreciation our clients not only get ratings of what people are watching or listening to – they also know why. Our cross-media measurement shows what devices your audiences are using for each channel and type of content, and we evaluate your marketing efficiency and performance across the whole spectrum of channels.

We help you optimize your channel selection and content to deliver increased audience engagement, end-to-end.

Read more about Media Measurement

GfK, Denmark

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Success Stories
  • Connecting the dots between digital and traditional media

    Connecting the dots between digital and traditional media

    15.03.2016

    We investigated the role of social media chatter in generating awareness and readership of Vanity Fair’s Caitlyn Jenner issue.

    Vanity Fair is an influential and iconic magazine published by Condé Nast.

    Situation

    Most media planners crave insight and data about how digital and traditional media can work together. The much talked about issue with Caitlyn Jenner on the cover offered us a perfect opportunity to explore this topic. We wanted to investigate what impact, if any, the social media buzz can have on the readership of the July issue in its traditional printed format.

    Approach

    Over a nine-week period, we surveyed 1,798 adults online who said they had read the July issue of Vanity Fair.

    Outcome

    • Four in ten adults who read the magazine first heard about the Jenner cover on social media
    • 40% of adults (ages 18+) who read the July issue had not read Vanity Fair in the previous 12 months
    • Nearly half (47%) of those readers were aged 18 and 34, indicating that the coveted millennials do read print magazines, contrary to the conventional wisdom
    • The big challenge for publishers is generating awareness among these younger readers – and it looks like social media can help with this

    Click here to download the success story

  • Optimizing TV content for a demanding audience

    Optimizing TV content for a demanding audience

    31.01.2016

    Our research helped this TV network shape its new television show featuring a Brazilian icon.

    Situation

    A broadcaster needed information about how viewers would respond to a popular entertainer’s return to the airwaves after a short absence. After the launch of the program, the company wanted to track the audience’s response to its format and content.

    Approach

    We explored social media conversations to determine which elements viewers might value in the show, and how these aligned with the host and the network. A subsequent quantitative study gauged the target audience’s intention of watching the program.

    After the launch, we tracked viewers’ behavior and opinions by integrating social media insights with audience data from the broadcaster and data from our online panel.

    Outcome

    We found that Brazilians were receptive to a new show because television program options during the evening time slot were limited.

    After the launch, we tracked user-generated content on social networks to see what elements of the show were resonating with the audience. This information helped producers strengthen the show’s content.

    Our advice also helped the commercial team to target sponsors with brands that would be a good match for the profile of the program and its audience.

    Click here to download our success story (short version)

    Click here to download our success story (long version)

     

     

Latest insights

Here you can find the latest insights for Media Measurement. View all insights

    • 05/11/16
    • Media and Entertainment
    • Media Measurement
    • Denmark
    • English

    Using Programmatic advertising to reach highly defined target audiences

    It’s time to move beyond impressions, sessions and searches in programmatic advertising and put people back into data.
    • 05/19/17
    • Automotive
    • Media Measurement
    • Global
    • English

    Mobile is the means to improving traction for your crossmedia automotive campaigns

    As an automotive marketer, you face a great many challenges. Not only is the auto industry in the fast lane when it comes to change, but so too is the media landscape you must navigate to attract Connected Consumers. Online media’s increasing importance in the purchase journey combined with the proliferation of connected devices, however, presents a significant opportunity and route to maximizing the efficiency of your campaigns. While traditional TV remains the go-to media channel to drive brand image and reach a mass audience, online campaigns can add extra reach and help target a specific group. More specifically, you need to go mobile and devise content specifically for this channel. Here’s why:

    Go mobile to get more mileage from your campaigns

    Our research shows that mobile accounts for a significant share of digital ad impressions. According to our Crossmedia Visualizer data, based on online users in Germany, more than one third (37.4%) of all ad impressions within automotive online touchpoints occur exclusively on mobile devices. When looking at smartphones only, they deliver 20.4% exclusive reach, while tablets deliver 14.3%. Mobile use is even more pronounced among Gen Y (20-34 year olds) in this market, where 45.3% of impressions in the automotive category are exclusively on mobile. What’s more, our research shows that the reach of Facebook on mobile devices among younger target age groups is nearly three times higher than that of desktop ad placements. Also when run in addition to TV campaigns, paid placements on Facebook can extend incremental reach by 4.5%. This is even before considering the viral effects a campaign can have. Younger age groups are not only critical for brand building but are also, because of their affinity for using mobile and social media, open to campaigns that use these channels. What this means is that if you aren’t reaching them on mobile and via social media through paid placements and the like, your competitors surely will.

    Fine-tune your use of mobile channels for incremental reach and targeting

    The increasing usage of mobile devices among the online population in the auto sector is also evident when we look at the websites of the top three premium car brands in Germany. While desktop still delivers the greatest share of impressions versus mobile for Mercedes-Benz (64.3% vs. 35.8%) and Audi (64.3% vs. 32.2%), for BMW, mobile provides a 53.3% share of impressions versus 45.9% for desktop. These factors combine to underline the need to optimize the mobile elements of your cross-media campaigns to target today’s – and tomorrow’s – Connected Consumers where they are. Put another way, if you want to get the mileage from your cross-media campaigns, you need to fine-tune your use of mobile channels to deliver that all-important incremental reach and targeting of content. You can master today’s multi-channel marketing reality and track, analyze and optimize your media planning with our Crossmedia Visualizer tool. Test it out for yourself for free to discover:
    • which car brand sites have the highest net reach among the online population in Germany and how this has changed over last five months
    • which of the key online auto sites in Germany has the highest net reach and number of unique users
    • what the top auto sites’ reach is by device and which site indexes highest for reaching those who intend to buy a new car (timeframe)
    • and more…
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    • 04/06/17
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    Netflix now offers downloadable content to watch offline. So what?

    Netflix was the last to join the likes of Amazon Prime and catch-up services in offering its subscribers the flexibility to watch content offline. For a while, Netflix officials have been shutting down all downloading queries cold. Their decision to “focus on the 95% use case where customers watch movies when they have network access and not to focus on the 5% case of airplane use or watching movies in the backseat of your car,” quoting Gibson Biddle at the 2012 Stack Exchange, was followed through for many years. Then, as the company focused on growth outside the US, the offline mode was kind of a deal breaker to push subscription rates in emerging markets. In those countries, consumers had already adapted their behaviour to lower levels of broadband speeds and Wi-Fi access and a Netflix offering would have seemed incomplete or impractical without the option to download content.

    Downloading options introduced by Netflix

    So, as of the 30th November 2016, we got what we wished for; Netflix introduced downloading options for users worldwide, benefiting even us in the very much developed world in the UK. But have Netflix subscribers responded enthusiastically to the long-awaited downloading feature? Here are the facts:
    • The word has spread: the vast majority (63%) of Netflix subscribers are aware that downloading is now available
    • However, a mere 3% are using it
    • Of those who use it, two thirds do so a couple of times a month or less
    In essence, the download feature is rarely utilized by Netflix users, with the majority of content still being streamed directly. When watching a TV Series that has been downloaded, viewing is more likely to be just one episode, compared with if that content was streamed directly. ‘Binge watching’ is also less likely if content has been downloaded rather than streamed.

    Why aren’t users binge-watching downloadable content?

    ‘Binge-watching’- the high level control over what, when and for how long you watch a show (you just don’t dare the thought of stop watching) is a concept that seems to be losing its coolness if all is downloaded for convenience. When respondents were asked about the reasons they haven’t used this feature yet, the half-hearted ‘I view/stream all I want at home’ response ranked first (with 52% of Netflix subs agreeing). Technical barriers like ‘lack of storage space’ (27%) and ‘don’t know how’ (17%) were mentioned next, and finally 7% could not find content they wanted to download. For some, the downloading experience was restrictive, if not unpleasant: the unsuitability for desktop streamers, also for Android devices that don’t support HD officially, further technical barriers for Chromecast or AirPlay users, also limitations around the number of devices that can download at the same time, etc. (the list goes on) – all these combined with an incomplete downloading library and the enthusiasm fades away quickly.

    Netflix = streaming

    This is consistent with how users are using Amazon’s downloading option too, averaging at an unchanged 5% since launch. In essence, a download sweeps away the beauty of the ‘caught in the moment’, unplanned viewing experience and is reduced to a practicality function. So, thank you Netflix for the ‘nice to have’ perk; it’s got to be there even if hardly ever used; for peace of mind, planes and dodgy Wi-Fi service at hotels. Whilst acknowledging the ever changing video landscape, I would be really surprised if Netflix’s downloading usage presents an uptake over the next few quarter results of our SVOD study. It’s only when post-Generation Z consumers start their own revolution on the way content gets consumed that we will be in for a surprise! Mary Kyriakidi is the Director of Media & Entertainment at GfK. To share your thoughts, please email her at mary.kyriakidi@gfk.com or leave a comment below.
    • 02/10/17
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    ‘The Grand Tour’ drives into pole position for Amazon

    The Grand Tour – Amazon’s biggest visual production to date – was released on 18 November 2016. Essentially, for all those who aren’t aware of what The Grand Tour is, the show is an updated version of BBC’s Top Gear, hosted by the three presenters who really (whether you like them or not) made the show what it is today: Jeremy Clarkson, Richard Hammond and James May. Talk about the release and production of this new Amazon Original series has been circulating over the last 18 months, with Jeremy Clarkson even popping up in  Amazon’s advertising to help promote products like the Amazon Fire stick, but also to help keep awareness of the new show alive.

    Reception upon release

    Once the show was released, there were mixed reviews from all corners of the media, with some claiming that the show had exceeded expectations, whilst others felt it was offensive and off-key. Away from the newspaper columns and online comment sections though, our UK SVOD data allows us to understand a bit more about how the show actually performed against other titles on Amazon (they keep this data very close to their chest), and what viewers actually thought about the show. Firstly, even though it was only launched halfway through the month, The Grand Tour (TGT) became the most streamed show on Amazon in November 2016, accounting for 8% of all the streams watched in that month. In the following month, the show was still the most streamed title, and increased its share of streams to 17%, a clear winner and ahead of the second placed title, The Man in the High Castle which attracted 9% of all streams viewed. However, what is perhaps more interesting is that in December, 45% of all active Amazon users watched at least one episode of the program (we define an ‘active user’ as someone who has watched something in the last week). This is the highest proportion of unique viewers that we’ve ever recorded, not just for Amazon, but also across all platforms captured by our tracker in the UK (which includes Netflix and NowTV). This suggests that two things might be happening: existing subscribers are all intrigued by the show and/or lots of new people have signed up especially to watch the program.

    Exclusive original content made by the provider

    One key reason behind Amazon’s investment, was of course, not just to attract publicity and views, but to encourage sign up amongst a different target audience to those already signed up. In December 2016, the top reason for sign up to Amazon Prime was ‘to watch original series made by the provider’ (this excludes those signing up for free shipping and because of a free trial).  The next most popular reason for sign up was ‘to watch exclusive content not available elsewhere’. To underpin the appeal of TGT, over half of those who said that they signed up to Amazon in order to watch a particular show said it was TGT that they wanted to watch, definite signs that TGT was doing the job it was commissioned for. This I believe can be fairly linked with the launch and increased marketing of The Grand Tour (awareness for TGT was high, with 84% of all Amazon users in December having heard of the show).

    Rating the show’s content

    When asked why they started watching this new series, the majority of viewers (68%) said that they are/previously had been fans of the BBC’s version of the show. Furthermore, just over half (52%) also stated that they are fans of the presenting trio (Clarkson, Hammond and May), indicating that many of The Grand Tour’s viewers have migrated from the BBC to Amazon (and more technically, from Linear TV to SVOD). In terms of the program quality, the main question most people are asking is, “is TGT better than the original?’. Amongst those that watched the show, 55% felt that The Grand Tour was ‘much/slightly better’ than the BBC’s Top Gear show with the same presenters, and 45% of viewers also thought that the show exceeded their original expectations. This is backed up with the show’s content rating. When asked to rate the show using a 10 point scale, TGT scores a content rating of 8.6, higher than most other big Amazon Originals such as The Man in the High Castle (8.3), Transparent (8.2) and Bosch (8.5). The show also scores a lot higher when compared to the average content rating for any show watched on Amazon, which currently stands at 7.9, proving that the high production cost may be paying off (as it happens, the viewers of the show also agree that Amazon’s investment has been worth it, with less than 1/6 of viewers saying that they were disappointed with the show, or that Amazon have wasted their money in making it).

    Conclusion

    With Amazon finding success from their investment into TGT, it should be expected that they will continue to spend to produce exclusive content not available elsewhere to bolster users of the service. It is also highly likely that the 2nd season of TGT will be backed by an even bigger marketing budget, given the success the show had in reaching such a wide range of Amazon users, and that all those who watched the show generally thought it was great. The interesting thing will be how Amazon and The Grand Tour production team decide to follow up with season 2. Will they stick to the tried and tested formula (which seems to be working), or will they try even more adventurous journeys and stunts? At the end of the day, given that most people are watching the show because they like cars and the presenters (Clarkson, Hammond and May), Amazon will undoubtedly follow up with a 2nd season that is equally as successful, so long as they keep those two critical elements at the very core of the show, and continue to build excitement by using the iconic trio in the company’s wider marketing campaign in the run up to release.

    See the top reasons viewers started watching The Grand Tour

    Download our free infographic
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