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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. 

GfK, Peru
Avenida Jorge Basadre 990, San Isidro, Lima
+51 1 206 2300
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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

    • 12/22/16
    • 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.
    • 12/14/16
    • Media and Entertainment
    • Technology
    • Connected Consumer
    • Global
    • English

    UK TV viewing trends

    Latest research from GfK into the UK’s OTT viewing habits has revealed surprisingly low audience numbers on mobile devices. It seems that watching subscription video content on Netflix, Amazon and Now TV is, for now, most definitely an in-home entertainment experience.
    • 11/25/16
    • 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.
    • 11/22/16
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    Stranger Things happen – Netflix original programs continue to hit the spot

    When Netflix released Stranger Things mid-way through July 2016, few people would have predicted the scale of the show’s success. Within its relatively short life span, Stranger Things (a series that is part of the ever expanding list of Netflix originals) has been celebrated by critics and Netflix users around the globe, by bringing a (perhaps, up until its release, slightly less fashionable) sci-fi TV format to TV screens in 2016, without losing any of the charm that people associate with the classics of that genre. Many commentators have speculated that the show would appeal to those who love the sci-fi classics of the 80s, as well as introducing the genre to new audiences, so we decided to look at our SVOD tracker data to see who exactly is watching this show.

    Who is watching Stranger Things?

    Firstly, let’s look at the profile of those watching the show: Compared to all Netflix users, the Stranger Things audience tends to be younger (they are more likely to be in living in a household with parents and other siblings, but less likely to have children around) and the appeal to both genders is more evenly balanced compared to other shows. Looking at age, 65% of those watching Stranger Things were 18-34. In fact, Stranger Things has one of the youngest audiences compared to any other major Netflix Original (with the exception of Making a Murderer, which has similar gender and age splits). This could be influenced by the subject matter of the two shows (sci-fi vs politics) but also perhaps because Stranger Things is a less familiar (and in a way, newer) format in today’s TV landscape, which could have triggered interest amongst younger users. It should be noted that these younger audiences are also more likely to consume video content on connected devices other than the TV screen.

    How was it watched after release?

    After being released on July 15th 2016, Stranger Things became a hit almost overnight. Even though it was only available for half of the month, it was the 3rd most streamed title in our SVOD tracker in July ’16, moving up to become the 2nd most streamed title in August ‘16. In September, the show was still the 2nd most streamed title, only ranking behind Narcos, which had released the 2nd season of the series at the beginning of the month. The release format that Netflix uses, releasing an entire season’s worth of episodes at once, is highly conducive to binge watching. Among those that binge watch shows, Stranger Things has the highest proportion of people streaming 4+ episodes, proving that people have been bingeing heavily on this series in the first weeks of its release.

    Are people enjoying watching Stranger Things?

    When asked to rate the program on a scale of 1 to 10, in terms of viewing satisfaction, Stranger Things (with a score of 9.0) delivered slightly better content ratings than other shows on Netflix (whose average score is 8.5). However, it is worth noting that Narcos and Making a Murderer also scored a 9.0 average content rating, which shows that Stranger Things is in-line with other recent Netflix Original releases on this measure (the average content rating for Netflix originals is 8.8).  Could they be listening to feedback from their audience to make more enjoyable programs? Stranger Things has been a success for Netflix – the data in our SVOD tracker shows this, but the announcement that Netflix have already commissioned a second series is clear evidence that this is true. In my opinion though, the key success of this show was that a higher proportion of younger users (16-34s) seem to be engaged with this title. If Netflix is to continue successfully expanding globally, it will need to make sure that it retains the attention of this audience, especially in a market where new video services are launching every day on a variety of devices, and vast sums of cash are invested into original content to try and capture market share. Having said that, if Netflix keeps successfully producing new program formats (or reviving old favorites), then they have a good chance at cementing their position at the top of the SVOD market even further.

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Avenida Jorge Basadre 990,
San Isidro, Lima
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