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Közönségmérés és insightok

A fogyasztók minden eddiginél több médiatartalommal és csatornával rendelkeznek, és minden eddiginél nagyobb eszközkínálatból választhatnak.

A reklámcégeknek, médiatulajdonosoknak és médiavásárlóknak fel kell tudniuk ismerni, hogy mely digitális és hagyományos csatornák vonzzák a legsikeresebben a megfelelő közönséget. 

Közönségmérési megoldásokat szolgáltatunk a televízió, a nyomtatott sajtó, a rádió, az out-of-home, internetes- és mobil média számára. Nyomon követjük, hogy mely fogyasztók mely csatornákat használják, hogyan kezelik az egyes médiumok tartalmát, és mi irányítja a viselkedésüket.

A fogyasztói tartalomértékelés során ügyfeleink nem csupán azt tudják meg, hogy mit néznek vagy hallgatnak az emberek, hanem azt is, hogy miért. A minden médiát lefedő méréseink megmutatják, hogy a közönségen belül milyen eszközöket használnak az egyes csatornákhoz és tartalomtípusokhoz. Ezen túl a csatornák teljes spektrumán kiértékeljük a marketingtevékenység hatékonyságát és teljesítményét.

Segítünk abban, hogy optimalizálja csatornakínálatát és média tartalmát, hogy magas szintre emelje a közönség elkötelezettségét!

Legfrissebb insightjaink

Itt találja a legfrissebb, közönségméréssel kapcsolatos insightokat. Tovább az insightokra

    • 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
    • 02/10/17
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    Amazon’s ‘The Grand Tour’ drives into pole position for its online video streaming service

    Amazon’s biggest visual production to date, The Grand Tour, shows clear appeal among UK SVOD viewers. GfK’s established SVOD content tracking and analysis finds that the show swept the board versus other titles viewed on Amazon. It was the most viewed title in both November and December 2016, attracting the biggest audience reach for an Amazon show in the UK since GfK’s tracking service began in 2015.
    • 02/06/17
    • Media and Entertainment
    • Media Measurement
    • Crossmedia Link
    • Global
    • English

    GfK partnership with Xinsight and Miaozhen to launch GfK Crossmedia Link capabilities in China

    Campaign Performance Analysis (CPA) will be the first solution available as GfK begins a unique expansion of its GfK Crossmedia Link (GXL) services in China. 
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