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Información inteligente: medios de comunicación y entretenimiento

El sector de medios de comunicación y entretenimiento está experimentando una rápida transformación. Esto ofrece oportunidades significativas para las empresas de televisión, editoriales, agencias de publicidad de contenidos y propietarios de  plataformas digitales de contenidos  que comprendan el impacto de este cambio.

Hoy en día, la audiencia de muchos se está convirtiendo en la de uno, lo que está obligando al sector de los medios de comunicación a orientarse más a los datos. Los grupos de comunicación y de medios digitales necesitan comprender los cambiantes patrones  de consumo de hoy, lo cual implica conocer qué programas y qué contenidos son vistos a través de canales digitales y cuáles mediante medios tradicionales u otras fuentes de contenido.

Nuestros expertos en medios de comunicación y entretenimiento proporcionan una perspectiva amplia  sobre qué contenidos se están consumiendo,  en qué canales y dispositivos y por qué.
Tenemos la capacidad de transformar grandes volúmenes  datos cross-media en información inteligente y relevante gracias a nuestros equipos de data sciences   y nuestra experiencia para integrar e interpretar múltiples fuentes de información.

Los datos exclusivos de GfK incluyen información sobre audiencias, así como también, sobre consumidores y distribuidores de contenidos (por ejemplo, video on demand  (VoD), DVDs, música, libros, videojuegos y consolas). Esto nos permite medir el consumo de medios, la eficacia publicitaria y el atractivo de los contenidos. Al registrar y analizar el consumo de medios a través de canales, plataformas y dispositivos, le ayudamos a crear y ejecutar estrategias de negocio ganadoras. 

Maritza Márquez
Rodrigo Niño
Mediatalk newsletter

Consiga las últimas noticias sobre medios de comunicación y entretenimiento

Descubra las novedades, datos e introspecciones del sector y cómo afectarán a su negocio las tendencias de los consumidores en nuestra newsletter.

Últimas tendencias

Aquí puede encontrar las últimas tendencias sobre medios de comunicación y entretenimiento. Siga leyendo

    • 09/14/17
    • Media and Entertainment
    • Global
    • English

    A rising SVOD tide may not raise subscription prices

    With the number of subscription video on demand (SVOD) services growing, and existing ones getting frequent enhancements, media stakeholders have to wonder when “enough” will become “too much”. How many of these services will consumers subscribe to, and how much will they pay? Is there a road to profitability for market leaders who are investing millions in original content and exclusive licensing?

    Movement in the marketplace

    In the past year, signs of the SVOD market’s vitality have been easy to spot. There are new offerings – some smaller (Britbox) and some larger (Sling TV). A recent entrant, CBS All Access, is finally readying for its likely reason for being – the launch this fall of the streaming-only Star Trek: Discovery series. Among the Big 3 SVOD services, we’ve seen enhancements by Hulu, which added ad-free and live-TV subscription options. Amazon expanded its originals and will offer streaming of NFL games in the coming season. Market-leader Netflix seems to have scaled back its ambitions, opting for more curation and showing a willingness to cut ties with expensive but less-successful originals (The Get Down and Sense8). And the big recent news hanging over this entire market is Disney’s announcement that it will launch its own SVOD service and pull back its licensed content from other SVOD players – a double whammy for established players in the space.

    How much are subscribers willing to pay?

    We can gain some insight into the SVOD marketplace – at least for the Big 3 SVOD services – by looking at the eighth annual Over-the-Top TV report from GfK’s The Home Technology Monitor™. First, we see that the proportion of Netflix subscribers who also subscribe to either Amazon Prime Video or to Hulu – those that are multiple subscribers – has doubled in the past three years, from 10 percent in 2014 to 21 percent in 2017. The good news: We have proof that consumers are open to having more than one paid streaming service. But, on the downside, this may squeeze the amount they are willing to pay for each. The most interesting insight comes from our tracking since 2014 of perceived value for each of the Big 3 services. Measured in 2014, 2016, and 2017, we asked regular users of each service what was the maximum they would pay per month for that service. As we noted in 2016, and now see again in this year’s data, there is very strong indication for a “natural limit” of about $11 per month for any SVOD service. With standard service currently costing $9.99 a month for Netflix, $7.99 ($11.99 ad-free) for Hulu, and $8.25 for Amazon, we can again see there is good news (all are valued higher than their actual costs) mixed with bad (there is little room for additional subscription price increases). In particular, Netflix appears most vulnerable. Their standard service is already priced at 92 percent of the maximum price (compared with Amazon at 86% and Hulu at 79%). Also, Netflix’s perceived value showed no change in the past 16 months, while Amazon and Hulu scored positive (albeit small) momentum. Add in the consumer budget squeeze from the increase in multiple SVOD subscriptions, and the days of being able to easily run up revenues through subscription increases may be over.

    Altering the business model?

    While Hulu has advertising as a second revenue stream, Amazon has both very deep pockets and a raft of additional benefits from being a Prime member (shipping, music, e-books, etc.) – perks that Netflix lacks. Netflix’s ability to offset an increasing mountain of debt[1] may be limited by its current business model; it may, at some point, need to consider advertising, program sponsorships, or other streams of revenue in order to make Wall Street happy. Pricing aside, many other aspects of SVOD services need to be explored in the future as these services proliferate. What is the total budget for streaming and/or pay TV? How does the wide choice of services fit together? How can services avoid monthly, seasonal, or program-related churn? And, perhaps most importantly, how can consumers easily find their way to the content they want to watch across these multiple platforms? We look forward to partnering with our clients to further explore this space and help drive successful business outcomes. Get similar insights – and many more – as soon as they get published by subscribing to The Home Technology Monitor™ in 2017. Aside from the Over-the-Top TV 2017 report, our reports this year include our annual Ownership and Trend Report, Commanding Media (voice commands), TV Everywhere, and SVOD Digital Journey. [1] “Netflix is on the hook for $20 billion. Can it keep spending its way to success?”, Los Angeles Times, July 29 2017. http://www.latimes.com/business/hollywood/la-fi-ct-netflix-debt-spending-20170729-story.html hbspt.cta.load(2405078, '9e81766d-3de3-4a41-b18f-755b81cf461d', {});
    • 09/06/17
    • Fashion and Lifestyle
    • Home Appliances
    • Financial Services
    • Media and Entertainment
    • Retail
    • Technology
    • Travel and Hospitality
    • Automotive
    • Consumer Goods
    • FMCG
    • Home and Living
    • Market Opportunities and Innovation
    • Consumer Life
    • Global
    • English

    The mood of the world today – what are people thinking?

    In this free on-demand webinar, our experts dive into current consumer confidence and other key indicators of the consumer mindset and what it means for individual markets and brands.
    • 09/01/17
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Global
    • English

    Researching the mind of a ‘distracted viewer’: The greater than ever role of engagement and the gains of AI

    The rules of engagement have modernized. There is no question that – for a while now- we’ve been living in the era of the ‘distracted viewer’. If anything, the re-invention of TV over the last decade should have spawned a more appreciative and engaged consumer. Firstly, content on the small screen has re-emerged as innovative, surprising, ‘wonder what comes next’ claiming, it feels, some of the old cinema aura. Secondly, more money than ever before is now spent on commissioning and acquiring content for the general TV; Netflix, Amazon and HBO announced they are spending, as a total, more than $12 billion dollars on content this year Instead, the abundance of shows to choose from combined with the plethora of devices demanding our attention have turned us consumers into the toughest of judges on a talent show at any given time. And I will explain why; whether we are streaming or still enjoying the traditional TV, viewing is rarely a single action. Online browsing, social networking, instant messaging or just good old phone ringing come in the way of a viewing experience. Unless we make a conscious decision to remain uncontactable during a viewing session, pop up alerts will be fighting for our attention throughout repeatedly asking us to make a choice as to whether the content we watch is worth interrupting; our engagement will be undoubtedly tested.

    Engagement through emotion

    So, what is it in a programme that keeps us engaged? For many decades, creatives globally (with the help of their insight teams) have been attempting to solve the engagement question, which more often than not is synonymous with international appeal and longevity of a show in the viewers’ hearts. Figuring out that emotions are some of the main drivers of engagement is almost straightforward. Deciding which are the lead emotions and how to track them is trickier. In market research, emotions are captured in numerous and cross methodology ways: from using words/emojis/open questions in quantitative surveys to having ‘emotional’ qualitative group discussions and in depth one-to-one interviews to using dial testing, heart rate tracking and machine learning algorithms like facial expression capturing and voice recognition, all used to define the emotional connection between the viewers and a new programme. But, in all honestly, creatives have been taking the lead on this one, not necessarily with the fine-tooth comb of emotions, rather with gut feeling and their years of experience taking centre stage in this decision making. Sometimes the audience choices will contradict these decisions. The most striking example of a success that was failed to spot is ‘Mad Men’; it was rejected by both HBO and Showtime before AMC decided to take a punt with it. Same with C.S.I. which was consciously overlooked by ABC, NBC and Fox and it was only the CBS executives who decided to take a chance with it. 17 years after it first launched, it continues to be the bread and butter of many schedules around the world.

    Measuring audience emotions

    So, what’s so important about emotions that can predict a show’s appeal? The answer sits somewhere between neuroscience and psychology. Think about a movie scene that increased your heart beat, made you start biting your nails again, stand up or even scream. At that particular moment, you were biometrically experiencing what was happening in the movie world, fully empathising with the feelings of the character. If then or immediately after you were asked a pure and undiluted research question like: ‘what did you think?’, any emotions would be decoded in your answer. GfK Voice allows us to do exactly that, ie. capture audiences’ emotions and their sense of engagement by translating people’s voice response to quantifiable data.

    Analyzing the ‘distracted viewer’

    Once emotions subside, people start rationalizing what they’ve experienced. Referring to that movie scene again here, if it’s memorable and worth pondering, thoughts will start coming in. Emotions will give place to reasoning and our ‘distracted viewer’ will engage in chats, tweets, will write reviews, share comments on social media and even reply to surveys offering well-thought, moulded answers. The key to unlocking the essence from all this unstructured text is artificial intelligence (A.I.). The text mining process that analyses transcripts, unlocks themes, detects how formal, informal or emotive writing is, is what we call Advanced Text Analytics. This automated process of examining text delves deep into the context behind engagement recreating the consumer’s mind. The combination of emotional decoding and artificial intelligence can shine the brightest light on the consumer’s mind and produce powerful diagnostic as well as predictive results. Engagement might be constantly tested with distractions all around us and machine learning technologies define exactly how much that is. However, in this world of distractions, the abundance of platforms consumers use to express themselves unveils the deepest insights that are often the hardest to get. And this is where A.I. benefits the most. hbspt.cta.load(2405078, '1666e93b-ae0f-44ea-ab46-054ef5cc96ff', {});
    • 08/30/17
    • Press
    • Media and Entertainment
    • Retail
    • Technology
    • Point of Sales Tracking
    • Trends and Forecasting
    • Global
    • English

    Smart TVs gaining ground

    GfK findings for the global TV market on the occasion of IFA 2017 in Berlin.
Soluciones
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Contáctenos
Maritza Márquez
Rodrigo Niño
General