Rather Than Opt-Out Of Google, German News Publishers Demand 11% Cut Of Revenue

Rather Than Opt-Out Of Google, German News Publishers Demand 11% Cut Of Revenue.

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German news publishers are picking up where the Belgians left off, a now not-so-proud tradition of suing Google for being included in its listings rather than choosing to opt-out. This time, the publishers want an 11% cut of Google’s revenue related to them being listed.

The news comes from Jeff Jarvis, who writes that a group representing about half the major news publishers in Germany have a started an arbitration process demanding that Google pay 11% of revenue related to listing links to and descriptions of their content.

The actual suit (in German) from the VG Media industry group is here, which demands up to 11% of all gross sales worldwide (plus VAT!) of revenue related to its content, as of August 1, 2013.

Beyond What Leistungsschutzrecht Allows?

From Spiegel (again in German, and working off a Google translation), VG Media includes twelve publishers including giant Axel Springer. The story also suggests that the publishers feel they have a right to demand license fees because Google’s use goes beyond a new German copyright law created last year.

That law, referred to as “ancillary copyright” or “Leistungsschutzrecht,” allowed search engines free use of single words or very small text excerpts. Apparently, the VG Media group still feels there’s use happening where payment can be demanded.

The move produced two major absurdities. First, it’s incredibly difficult to even know how much revenue would be generated, if any, by these links.

The Difficulty In Calculating A Publisher’s Cut

Within Google News itself, there are no ads. So as Jarvis writes, “Are the publishers seeking 11% of 0?” But news content does appear outside Google News, within regular Google searches, where ads can be present.

To figure an 11% payment here, the publishers would apparently want to know any time their content appeared with ads on search results pages. Then, if any of those ads produced revenue, they want 11% of that.

It’s a difficult but not impossible task for Google to figure this out. It already tells publishers through Google Webmaster Tools what the visibility of their pages are like. It could clearly tell for a particular publisher if pages are showing in the top results.

More work would be required to tell if a publisher was present where there was an ad click. There’s an even bigger debate on whether a publisher being one of 10 to 30 links that might appear on a page should be given the entire credit for a click and thus 11% of revenue earned by it.

Publishers Aren’t Forced Into Google

All that is likely to get argued in arbitration. But that leads to the second big absurdity. Google isn’t forcing the publishers to be in Google at all.

Let’s do a little history.

Back in 2006, Belgian news publishers sued Google over their inclusion in the Google News, demanding that Google remove them. They never had to sue; there were mechanisms in place where they could opt-out.

After winning the initial suit, Google dropped them as demanded. Then the publications, watching their traffic drop dramatically, scrambled to get back in. When they returned, they made use of the exact opt-out mechanisms (mainly just to block page caching) that were in place before their suit, which they could have used at any time.

The case carried on for six years in total. In the end, it was settled in what’s become common when Google is in disputes with publishers. Google pledges some nebulous collaboration that will support the industry. See also the €60 million “Digital Publishing Innovation Fund” it created for France last year.

With the German papers, they can opt-out of being in Google just as easily as the Belgian papers could have done back in 2006. They even have more granular control, where Google gave assurances to Italian publishers in 2011 that opting out of Google News didn’t mean they’d be dropped from Google entirely. But even before then, to my understanding, it was always the case you could request to be dropped from Google News but still be in Google Search in general.

In short, if the German publishers feel Google is unfairly infringing on their rights without payment, Google has a good argument that they’ve been failing to prevent this using industry-standard practices that every one of those publishers absolutely has to know.

And Some Publishers Work To Increase Their “Free” Visibility

Indeed, Axel Springer’s Bild publication — one of its largest — makes use of Google publisher code to assist its appearance in Google search results:

Elsewhere on the site, there’s code showing that Bild is explicitly telling Google to “follow” links within its site in order to index them, as well as providing news keywords specifically meant to increase the chances of ranking better in Google:

bild seo

This type of thing — along with any evidence that any of these publications are using Google sitemap lists, implementing Google Authorship or making use of Google Webmaster Tools — will go to demonstrating that the publishers aren’t somehow being swept up into Google’s results against their wills.

Rather, they show the publishers are actively trying to leverage Google for free traffic — and after gaining it, demanding that Google also pay them for the privilege.

Google a accordé 16 millions d’euros aux innovations des journaux en 2013 (France) – Challenges

Google a accordé 16 millions d’euros aux innovations des journaux en 2013 – Challenges.

Paris, 15 mai 2014 (AFP) – Google, via son nouveau fonds d’aide à l’innovation numérique dans la presse, a accordé en 2013 quelque 16 millions d’euros à 23 médias français, en tête Le Nouvel Observateur, L’Express, Le Figaro et Le Monde, dotés de près de 2 millions chacun, a annoncé Google jeudi.

A travers ce fonds, créé par Google pour apaiser la presse française qui lui réclamait des droits au titre du référencement, Google a financé l’an dernier 23 projets. Ce fonds, cogéré par les éditeurs de presse et Google, a surtout aidé les projets des quotidiens (11 projets), des sites “pure players” (5) et des news magazines (3).

Le Nouvel Observateur, le mieux loti, a reçu 2 millions d’euros pour créer QuotidienObs, une édition numérique quotidienne. Le groupe Express-Roularta a obtenu 1,97 million pour une plateforme d’analyse de ses données utilisateurs, la clé pour mieux cibler ses offres commerciales. Le Figaro a reçu 1,8 million d’euros pour renforcer son site vidéo Figaro.tv, qui veut monter en puissance jusqu’à plus de 100 vidéos par jour, et Le Monde1,8 million pour une future édition du matin pour mobiles.

Ouest-France s’est vu accorder 1,4 million d’euros pour lancer deux éditions en ligne par jour, La Voix du Nord 840.000 euros pour créer 1.524 portails hyperlocaux payants, La Croix 835.000 euros pour l’analyse de son audience et le site Slate 758.000 euros pour un service d’analyse des conversations numériques.

Viennent ensuite Sud Ouest (700.000 euros pour développer des abonnement multi-supports), Libération (649.000 euros pour une édition numérique du soir et des ebooks à la demande), Le Télégramme (640.000 euros pour créer une offre payante d’informations locales) et Les Echos(588.000 euros pour une application mobile de veille économique pour les entreprises).

Doté de 60 millions sur trois ans, ce fonds, unique au monde, est né d’un accord entre Google et l’Association de la presse d’information politique et générale (AIPG) début 2013.

Les éditeurs français réclamaient à Google des droits sur les bénéfices publicitaires réalisés en référençant leurs titres, et Google menaçait de ne plus les référencer. L’Etat français était intervenu, enjoignant Google de trouver un accord avec la presse française, faute de quoi une loi serait votée.

36% of people still don’t realise that Google Adwords are ads | Econsultancy

36% of people still don’t realise that Google Adwords are ads | Econsultancy.

Last year, we published the results of user tests which found that 41% of users were unaware of the distinctionbetween paid ads and organic listings. 

Well, thanks to UX firm Bunnyfoot, we have an updated version of the test, which finds similar results.

This time, 36% of people tested still do not realise that Google Adwords are ads.

Furthermore, about a quarter of people don’t know that Google had any advertising at all. And this despite the yellow text box proclaiming ‘ads’.

Why this research?

The original research came from Bunnyfoot’s work for a car insurance client who were investigating the effectiveness of Google Adwords.

During the research, the team found that 81% of users clicked on PPC ads rather than organic results.

Further investigation found that 41 of the 100 individuals tested did not know that Adwords were paid-for adverts, instead believing them to be the most authoritative links.

Since that last research Google, as is its prerogative, has changed the way its presents ad listings, possibly as a result of EU anti-trust measures.

This, in theory, should have made it easier for users to tell the difference between ads and organic results, though the issue is muddied by the fact that Google has removed the grey shading behind the ads.

That said, the word ‘ad’ with a bright yellow background is a bit of a clue…

Current PPC ad format:

Old ad format:

So how has this change affected users’ perception of search results pages?

Research methodology

The user testing was carried out in multiple locations across London. 103 participants with arange of internet abilities were tested, all of whom used Google as their primary search engine.

The participants covered a wide range of demographics and were aged between 18 – 65 years[≈ average human life expectancy at birth, 2011 estimate].

An eyetracker was used throughout the sessions in order to record where the participants were looking, and this generated aggregated heatmaps (Bunnyfoot looked at other factors of search result understanding and only report a subset here).

All participants were then asked a series of post-test interview questions to gather further insight as to their understanding of Google’s results pages.

The results:

  • When asked, 36% of users did not realise Google adwords were ads (a small change from 40% in 2012)

  • When asked, 27% of users did not realise that Google had any advertising. 

Note for the stats gurus amongst you: we of course realise that we have used a relatively small sample size (albeit a large one for user testing and eyetracking studies) and whilst the figures above have considerable sampling error it does not detract from their impact and surprise.

Have the changes to Google adwords made any difference?

The research suggests that the changes have made little difference to users’ ability to distinguish between paid and organic results.

Despite what I would assume was a clearer labelling of ads in the new formats, a significant portion of users still aren’t seeing the difference.

If I was a Google sceptic, I would suggest that the big G itself may have carried out similar tests to find the format that would satisfy the EU, yet still attract the most clicks. If clarity was the main factor, why remove the shading?

It also highlights the propensity for web users to miss what might seem obvious to those designing and working on websites.

The fact that 27% of those in the study when questioned did not realise that Google were doing any form of advertising in their results, further supports this, as well as being jaw-droppingly surprising in its own right.

What are the implications of this?

Pay-per-click is a very effective way of advertising your brand and reaching your target audience. It looks like about a third of people unknowingly click on ads and assume that ‘this is the best match’.

For the rest of those ‘in the know’ then the ads and the brands that pay for them still receive prominence, but the user can make an informed choice about whether to click a promoted link or not, depending on the context of the search.

Also, web designers and others ‘in the know’ should be wary of assuming ‘common’ knowledge on behalf of our customers.

According to Bunnyfoot CEO and co-founder Jon Dodd:

As our hundreds of user tests over the last decade have shown, it is very difficult to predict what customers’ knowledge or understanding is. When you do the tests, you are often humbled and surprised with how far off your assumptions are.

Graham Charlton is Editor in Chief at Econsultancy.

We’re hiring a Paid Search Manager @ Havas Media Brussels

We’re hiring a Paid Search Manager @ Havas Media Brussels – https://www.linkedin.com/jobs2/view/10919061. Feel free to forward this to the right person

Job description

Havas Media Brussels is hiring a Paid Search Manager who will be responsible for strategy, execution, and growth of its paid search marketing campaigns. The qualified candidate will have 3-5 years of SEMexperience, preferably in lead generation or other direct response environment.

 The ideal candidate must possess a keen understanding of automotive and finance business, with a strong background in pay-per-click (PPC) management. This role requires the ability to operate on both a strategic and tactical level, touching all aspects of the search marketing roadmap including keyword management, creation of campaign messaging, bidding strategies, creative testing, and analytics.


This position is based at the Brussel office and reports to the Head of Performance.


Key Responsibilities 

  • Act as a Paid Search business manager of the paid search engine marketing channel. Manage the channel by tracking, reporting, and analyzing all PPC initiatives and campaigns; responsible for forecasting and budgeting of channel. Taking the lead in the SEA team.
  • Become a “product expert” in our industry, understand the hot issues and new developments, and create an associated keyword expansion roadmap, working with the Product Marketing team to develop relevant ads and landing page content.
  • Develop near and long-term PPC account strategies, roadmaps and execute day-to-day tactics that increase revenue, site traffic, conversion and margins.
  • Identify and report on key performance indicators, and opportunities for improvement on a regular basis.
  • Day-to-day management and execution of search marketing campaigns including the campaign planning, implementation, budget management, performance review, and optimization of paid search campaigns.
  • Performance analysis, bid management, keyword expansions, creative/landing page testing, and general campaign optimization
  • Identify and evaluate new opportunities in Paid Search to develop
  • Analyze metric data and provide actionable recommendations for campaign optimization
  • Prepare and present recurring Paid Search reports as required
  • Manage and prioritize multiple online marketing projects simultaneously
  • Lead with team members on SEM/Online Marketing process improvement
  • Drive continued innovation and best practice implementation, regularly sharing your knowledge with the Paid Search team and others.
  • Integrate strategies and recommendations into other active marketing channels such as Display, Social, Affiliation; Email Marketing and diigital media.


  • Salary according to your experience in Paid Search
  • Company car + fuel card
  • Smart phone (Iphone/S3) + Mobistar abbo
  • Meal vouchers
  • Group insurance

Desired Skills and Experience

 Knowledge & Skills

  • 3+ years experience managing paid search programs
  • Should hold some combination of the following certifications: Google Adwords Certification, Google Analytics Certification, etc.
  • Requires hands-on knowledge of best practices in SEM and a proven track-record of delivering qualified traffic from both an acquisition and conversion standpoint
  • Exceptional copy writing and editorial skills
  • Strong analytical skills with ability to drive meaningful actions from large data sets
  • Proficiency in MS Office – especially Excel and PowerPoint
  • Ability to multi-task and prioritize in a fast-paced and dynamic work environment
  • An organized individual with great attention to detail and focus on quality of results
  • A self-motivated individual; a good team player
  • Takes accountability and ownership of his/her own work


Deserve extra plus points if you have this experience …

  • Experience in the lead generation and/or online performance space a plus
  • Experience with third-party SEM tools (e.g. Doubleclick Search, Marin, Kenshoo) a plus
  • Experience with Ad Networks, Display, Affiliate Management a plus
  • Fundamental knowledge and experience with web analytical tools and interfaces, i.e. Coremetrics, Webtrends, Google Analytics is a plus
  • Web platform experience including content management and e-commerce systems is a plus
  • Experience in SEO is a plus

The Role of Digital in TV Research, Fanship and Viewing – Think Insights – Google

The Role of Digital in TV Research, Fanship and Viewing – Think Insights – Google.

Digital platforms are changing the way people experience television. With 90% of TV viewers visiting YouTube and Google Search, we looked at how they are using these platforms to extend their experiences beyond their television sets. Here we detail the importance and growth of TV-related research online, the prevalence of fan engagement through video and the role of catch-up sources to extend the viewing time frame.

Digital platforms are changing the way today’s viewer experiences television. From sharing the new viral Jimmy Kimmel Live video to watching the promo for the premiere of The Walking Dead to searching for the actor who plays the funny cop on Brooklyn Nine-Nine, one thing is clear: There are more ways than ever for TV audiences to research, participate in and access television content.

With 90% of TV viewers visiting YouTube and Google Search, we looked at search activity, video views and engagement metrics to help us understand how viewers are using these platforms.1 Looking at a broad sample of 100 network and cable shows, we found that the corresponding online behavior is a clear indicator of a show’s popularity, as evidenced by a positive correlation between these activities and live plus three-day viewership. In this paper, we examine how viewers engage with and seek out these experiences on Google and YouTube, as well as the insights we can gain from their activities.

TV-related activity on Google and YouTube has grown year-over-year (YoY). Not only have searches across Google and YouTube grown, but there has also been a rise in video views, watch time and engagement on YouTube from 2012 to2013, suggesting that TV viewers are increasingly using these platforms to interact with fellow fans and engage with a show.

YoY Increase in TV-related Activities on Google and YouTube
Source: Google Internal Data, May–December 2012 to May–December 2013, United States.

While viewers continue to turn to multiple devices for television-related content, the query growth across Google and YouTube in the television category is driven by mobile and tablet, exceeding 100% on both of these devices.2

Online research: When, what and how

The changing face of television viewing has given way to new behaviors such as viral video sharing; audience-generated supplementary content; online streaming and use of catch-up sites such as Netflix, Hulu and networks’ streaming offerings. One thing remains consistent, though—a viewer’s desire to gain basic information about a show before tuning in.

Trailers, reviews, cast information and premiere dates are all common but essential types of content sought by viewers. Gathering this type of information is an important step in deciding whether or not to watch a show: Two-thirds of viewers of new television shows search online before tuning in.3 Overall, both Google and YouTube serve as key destinations in the television viewers’ decision-making process. Our analysis of Google and YouTube search queries and YouTube views show positive .72, .74 and .67 correlations with live plus three-day viewership, respectively.4

Let’s take a closer look at Google and YouTube search and viewing behaviors, specifically the whenwhat and how of seeking information and content:

When: We see that queries for fall television programs begin during upfronts and continue beyond the premiere, with increased activity during key show announcements and summer TV tentpoles such as Comic-Con and the Television Critics Association Press Tour (TCAs).

When TV Viewers Are Searching
*Different premiere dates affect when events are relative to premiere date for a majority of shows. Data represents average query volume for 100 fall TV shows.
Source: Google Internal Data, May–December 2013, United States.

Although this trend holds true for most shows, there are a few differences worth noting. New shows see spikes during upfront announcements, and then interest builds again about two months before the premiere date. Returning shows, in contrast, see sustained volume throughout the off-air period. Although new shows generally have fewer searches than returning shows, they have twice as many queries, on average, for promos, ratings and reviews. This suggests that users may be doing their homework prior to tuning in.

In addition, there are a few genre differences worth noting. From a trending standpoint, there is more activity earlier on for dramas and comedies. Queries for reality programs pick up in the few weeks leading up to premiere and are sustained post-premiere. In examining search intensity (queries/live plus three-day viewership), serialized dramas—especially teen dramas such as Vampire Diaries and Arrow—have the highest search intensity, followed by comedies and reality shows. Procedural dramas, in contrast, have the lowest search intensity.5

What: Outside of a show’s title, some of the most common TV-related search terms include season, TV show, network and cast modifiers, among others. Of these, we see that some are sustained throughout the premiere timeline, while others are concentrated to parts within it. For instance, promo queries spike at upfront week and tend to start building again about two months pre-premiere. Premiere-related queries are concentrated in the weeks leading up to and immediately following the premiere. Ratings and review queries, on the other hand, tend to be concentrated during premiere week and the weeks after it.

What TV Viewers Are Searching For…and When
Source: Google Search Internal Data, May–December 2013, United States.

One important component of what users are searching for is trailers for new shows. In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube, whereas videos viewed for returning shows are more varied in nature.6

“In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube.”

How: We examined 17 categories of Google Search queries across devices and discovered that intent can vary by device. For instance, cast, premiere/finale and plot-related searches regularly occur on mobile devices relative to other categories, suggesting that users often seek quick bits of information on a small screen. Alternatively, watch-related queries on Google Search are overwhelmingly searched on desktop and tablet devices, highlighting a preference among users to consume longer content on larger-screened devices.

How TV Viewers Are Searching
Source: Google Search Internal Data, June–December 2013, United States.

Viewer participation: Going beyond the episode

For a core group of fans, a 22- or 44-minute TV episode isn’t enough. Whether it’s seeking additional content offline (such as the live talk show Talking Deadthat discusses episodes of The Walking Dead) or online (network websites or industry sources such as imdb.com), TV lovers are looking to further engage with their favorite programs through “beyond-the-episode” content such as parodies, behind-the-scenes clips, and extended trailers found on YouTube. To better understand their online experience, we look to YouTube engagement metrics (i.e., shares, likes/dislikes, comments, subscribes), which collectively show a positive .58 correlation to live plus three-day viewership.7

A key behavior among YouTube users is the propensity to discuss their favorite shows and create new related content. Indeed, in 2013, for every piece of content uploaded by a show’s network on YouTube, there were more thanseven pieces of community-generated content related to the show. Some fan favorites far exceed that benchmark: Game of Thrones, for example, had 82 community-generated videos per video uploaded by the network and The Vampire Diaries had 69.8

These same fans are not only engaging with this content but also looking for ways to share and discuss it with a community of like-minded fans. An example of this collective enthusiasm can be found in YouTube’s subscriber community. Overall, they tend to watch 52% more video than those who don’t subscribe.9And because they watch more video overall, they’re often the first to discover content.

A popular late-night talk show’s highly viewed YouTube video that reached one million views in less than 18 hours exemplifies this phenomenon.10 We can see that subscribers comprise the majority of views right after the video goes live, but over time, discovery sources begin to shift as these initial viewers (the subscribers) share the video with others. As views from subscribers begin to taper off, direct links, YouTube searches and other user-controlled discovery methods take over. This highlights the importance of a strong subscriber base because subscribers are often the first to see and subsequently share content.

Viewership Pattern After Posting of Popular Video
Source: Google Internal Data, November 2013, United States.

It’s also a reflection of a larger trend on YouTube—overall, the platform has seen a 3x increase YoY in daily subscribers.11 Additionally, TV networks have been gaining subscribers for their official YouTube channels at a blistering rate, with an average per-channel subscribership increase of 69% from the beginning to the end of 2013.12

Accessing content: Extending the viewership timeline

In the past few years, we’ve seen a shift in measurement as metrics have evolved to capture longer viewing windows. This reflects not just a change in user behavior but recognition that there is considerable value in time-shifted viewing. With shows seeing a marked increase in viewership numbers across genres in the three days following a premiere and between seasons, tune-in is now happening across a much more extended timeline.

One significant trend is in-season catch-up behavior. DVRs, new streaming options and watch apps provide viewers with greater flexibility than ever to watch the content they want, when they want it. Search patterns also reveal a rising interest in this notion of “TV on my time.” Queries on paid streaming providers such as “Amazon Instant Video” or “Hulu Plus,” have increased 16% YoY, while watch app-related queries, such as “HBO GO” and “AMC mobile,” have increased 35% YoY.13

Catch-up behavior is not restricted to in-season activity. If given the opportunity to catch up on a show before a new season, 78% of viewers would be more likely to tune in to the upcoming season.14 Query trends also reflect this sentiment: in the pre-premiere time frame, watch-related queries have increased 50% YoY, signaling intent to catch up on previous episodes before a season premiere.15 So when do viewers start catching up? Of the 70% who said that they catch up on past seasons of returning shows, approximately half start more than two months in advance.16

Day of week can also play a role in catch-up activity. Because viewership patterns show greater preference for time-shifted viewing of dramas, we analyzed pre-season search patterns for a set of dramas and found that catch-up-related queries tend to spike on Sundays. This “lazy Sunday effect” suggests that Sundays may be the most popular day of the week to both stream and catch up on shows.

Pre-Premiere, Daily Query Trending for Hit Serialized Dramas Catch-up Related Queries
Source: Google Internal Data, May–August 2013, United States.

As networks and streaming providers create new ways for viewers to access programming outside the traditional viewing window, they’re creating the opportunity for new viewership as well. Understanding the patterns of how and when viewers are researching catch-up options is important in recognizing key moments of tune-in engagement.


Digital platforms have fundamentally changed the way TV viewers research, participate in and access their favorite shows. Search, video and engagement activities, which show a positive correlation to viewership, can provide additional insight into a show’s popularity. Here we summarize our key observations across Google and YouTube:


  • We see online television activity growth in the YoY increase in TV-related queries on Google and YouTube, and a rise in watch time, engagement with, and views of TV-related videos on YouTube.
  • Across the board, viewers are starting their research well before a premiere, with activity continuing several weeks beyond the premiere.


  • TV audiences often look to go “beyond-the-episode” on YouTube.
  • YouTube’s subscribers are fans who actively engage with a show and other fans, and they’re often key in spreading the word.
  • YouTube users engage with their favorite shows through discussion and creation of new related content.


  • Time shifting is here to stay, with catch-up behavior starting well before new seasons and continuing after episode premieres.
  • Sunday may be the most popular day of the week to both stream and catch up on shows.

1 Nielsen, @Plan, Q4 2013.
2 Google internal data, May – December 2012 to May – December 2013, United States.
3 Google/Ipsos OTX, Pathways to TV Consumption Study, 2013.
4 Google Internal Data and Nielsen TV Toolbox, United States.
Analysis looks at relationship between non-premiere live plus three-day viewership and leading seven-day Google and YouTube queries and YouTube views for cable and network shows across drama, comedy and reality genres. Analysis excludes outliers such as teen-skewing shows, musical reality competitions and shows with several searchable non-TV entities. View metrics analyzed on a representative sample of 32 fall shows.
5 Google Internal Data and Nielsen TV Toolbox, September–December 2013, United States.
6 Google Internal Data, 2013, United States.
7 Google Internal Data and Nielsen TV Toolbox, United States.
Analysis looks at relationship between non-premiere live plus three-day viewership and leading seven-day engagement metrics (likes/dislikes, comments, shares and subscribes) for cable and network shows across drama, comedy and reality genres. Analysis excludes outliers such as teen-skewing shows, musical reality competitions and shows with several searchable non-TV entities. Engagement metrics analyzed on a representative sample of 32 fall shows.
8 Google Internal Data, 2013, United States.
9 Google Internal Data, January 2014, United States.
10 Google Internal Data, November 2013, United States.
11 Google Internal Data, October 17, 2013.
12 Google Internal Data, 2013, United States.
13 Google Internal Data, 2012–2013, United States.
14 Google, Google Consumer Survey, n=500, March 8, 2013.
15 Google Internal Data, T-12 week – premiere week, United States.
16 Google, Google Consumer Survey, n=500, February 6, 2014.

  • Andrea Chen



Google étudie l’influence du contexte sur la perception des publicités sur smartphones – JDN Média

Google étudie l’influence du contexte sur la perception des publicités sur smartphones – JDN Média.

Le fait d’être chez soi ou entouré de sa famille joue un rôle sur la perception et l’efficacité de la vidéo publicitaire

Google/YouTube présente aujourd’hui, au Printemps des Etudes, les résultats d’une étude sur le contexte de réception d’une vidéo et son influence sur la perception de la publicité, réalisée en collaboration avec iligo et MRL.
Près de 300 utilisateurs réguliers de YouTube ont été interrogés via leur smartphone suite à leur exposition à une vidéo publicitaire.
Premier enseignement : l’agrément de la publicité est directement corrélé à l’adéquation de cette publicité avec les contenus audiovisuels visionnés, comme le montre le graphique ci-dessous.

Adéquation entre contenu publicitaire et vidéo © Google

Deuxième enseignement de l’étude : le fait d’être chez soi ou entouré de sa famille joue un rôle sur la perception et l’efficacité de la vidéo publicitaire. En moyenne, les vidéos regardées avec ses enfants ou son conjoint sont notées 7,5 sur10, vs 7,3/10 si elles sont regardées seul et 7,1/10 avec une autrepersonne. Les vidéos visionnées chez soi recueillent une note de7,4 sur 10 versus 7 sur 10 à l’extérieur de chez soi. De plus, les niveaux d’intentions mesurés dans l’étude sont supérieurs quand les expositions sont réalisées chez soi : 63% d’intention de renseignement et 40% de considération de la marque en cas d’achat, vs 59% et 38% à l’extérieur de chez soi.

29% des expositions étudiées ont été réalisées en compagnie d’autres personnes : 13% avec son conjoint, 11% avec son/ses enfant(s), 8% avec quelqu’un d’autre.
83% des vidéos vues l’ont été chez soi, dont 51% dans le salon, 22% dans la chambre et 10% dans d’autres pièces, 11% ont été vues sur le lieu de travail et 6% en mobilité.
Les 291 répondants sont des utilisateurs fréquents de YouTube (plus de 3 fois par semaine). 19 vidéos publicitaires ont été étudiées dans un contexte réel de réception. Au total, 1 925 expositions ont été analysées, dont 1 036 en première exposition, 549 en deuxième et 340 en troisième.


L’enquête a été réalisée avec mobiligo, une plateforme d’interrogation sur smartphones, et avec les technologies d’audio matching de MRL afin de recueillir le contexte réel d’exposition. Le système de MRL se base sur une application, téléchargée par les participants sur Google Play, qui détecte l’exposition à certains sons dans l’environnement du panéliste.

Social Media Winter is Coming.

Social Media Winter is coming! Alors que la saison 4 de Game of Thrones commence demain sur HBO, Hootsuite vient de mettre en ligne une vidéo qui revisite le générique de la série pour l’adapter à son domaine.

Ainsi, le service a décidé de remplacer les royaumes qui se font la guerre par les différents médias sociaux.Tout comme dans le générique de Game of Thrones, on voit les bâtiments apparaitre section par section et émerger de la carte alors qu’on les survole : « chacun des royaumes a des caractéristiques et des fonctionnalités uniques représentant bien le réseau social qu’elles représentent du Colisée YouTube pour Google au marché du travail pour Linkedin« . Hootsuite explique également que l’on pourrait trouver quelques surprises cachées dans la vidéo.

Une belle manière de faire la promotion du service qui permet de gérer ses différents comptes médias sociaux dans un même espace!

- See more at: http://www.geeksandcom.com/2014/04/05/quand-hootsuite-revisite-le-generique-de-game-of-thrones-facon-medias-sociaux/#sthash.gpZogwN3.dpuf

Burger King Sees Big Data Whopper in Mobile App – The CIO Report – WSJ

Burger King Sees Big Data Whopper in Mobile App – The CIO Report – WSJ.

Burger King Worldwide Inc.’sBKW -0.04% “Have it your way” approach to fast food is going mobile, with a side of analytics. The quick service chain in April is launching an application that will allow customers to redeem coupons and pay for food with their mobile phones.

BK’s app is a bid to lure and learn from younger consumers for whom smartphones increasingly serve as a crucial device. “The real beauty of this is to be able to understand the consumer behavior of our guests,” said Alex Macedo, the company’s president of North America. It is also keeping pace with McDonald’s Corp.MCD -1.17%, which is testing its McD mobile app in 1,000 stores. Both companies are aiming to retain consumers lured by rivals such as Sonic Corp.SONC -1.48%, andChipotle Mexican Grill Inc.CMG -0.08%

Starbucks Corp.’sSBUX -0.32% mobile app has found a large audience, but the jury is still out on how quick service chains can transfer brand awareness to app store downloads, says one analyst. BK must deliver a compelling mobile experience to generate the level of customer data and business it needs to make the app effort worthwhile.

Starting next month customers can use the app, available for iPhones and Android smartphones, to place orders, redeem coupons and pay. Tapping the pay option generates a four-digit code, which the cashier enters into the point-of-sale system. The system deducts the purchase from the guest’s account, and logs the transaction.

BK will use the purchase data to deliver customers coupons based on their preferences through text messaging, email and digital “badges,” that prompt customers to open the app. Eventually, BK will add a loyalty feature that rewards regular customers with free food. It will also use preference data, such as how customers like their Whoppers prepared, to let guests pre-order from mobile phones. “It’s going to allow us to make better offers,” Mr. Macedo said. In time, BK expects the data will influence menu changes. Tillster Inc. built the app for BK, which will gradually support the software across its 7,200 stores.

For BK’s app to reach the level of the Starbucks app, which claims 10 million users, the quick service chain will need to build awareness, as well as provide customers enough incentive to download the app and use it regularly, said Sucharita Mulpuru, a Forrester Inc. analyst who covers consumer retail. With over two million apps vyingfor consumers attention in Apple and Google’s stores, she said even big brands have struggled to gain traction. BK must also update the app, which risks impeding performance. After Starbucks updated its mobile app earlier this week, Twitter lit up with complaints from users who said they had trouble signing into their accounts.

BK thinks it can lick both problems. Noting that BK has prominent placement on Facebook Inc. and Twitter Inc.TWTR +1.60%, Mr. Macedo said BK will begin marketing the application significantly shortly after roll out. BK will try to avoid the complications associated with major software launches by limiting availability of the app’s features across its stores, said Samuel Heath, director of revenue management at Burger King. Ideally, this will make fixing any bugs more manageable, although it may upset some customers when they discover the app is not fully functional. “Taking a measured approach… will help us avoid some of those pitfalls that you get in large technology deployments,” Mr. Heath said.