Japanese is the second most tweeted language (30% of the internet users): Discover local social TV strategies !

Japanese TV Execs Share Social Media Strategies at Tokyo Content Market.

Japan has long been called one of the world’s most Twitter-savvy nations. After all, Japanese is the second most tweeted language behind English, and some 30 percent of the country’s Internet users are said to be on Twitter.

On day two of the Tokyo International Film Festival’s content market, TIFFCOM, TV executives gathered for a panel discussion to share strategies and case studies on how local networks are leveraging the platform to reach, engage and retain audiences.

Kicking off the presentation, entitled “The Audience Strikes Back: How to Engage Television Audiences Through Mobile and Social Media,” Masaki Hamura, managing director of digital creative agency AKQA, made the basic case for why TV producers need to be more aggressive about integrating social media into their content.

Read more Tokyo Content Market Opens With Record Attendance

“Social interaction always affects one’s primary experience,” he said. “For example, if you see a beautiful sunset, that’s probably pretty memorable. But if you see the same sunset with your daughter, it’s going to be more significant because you’ve shared it.”

Hamura, who recently served as head of brand strategy for Twitter in Japan, said that TV viewing has always been a social activity best enjoyed with family or friends, but social media has made this possible across distances and with larger groups. “I often turn on my TV because I see all my friends talking about some show on Twitter,” he added.

Mikiko Nishiyama, a senior director at Nippon TV, Japan’s oldest and highest-rated commercial broadcaster, then took the podium to share some of the innovative ways in which Japanese networks are utilizing Twitter and mobile apps.

The broadcaster’s drama Piece Vote, which launched in 2011 and airs at midnight, has begun featuring an on-screen overlay of live tweets from viewers. “While watching the program, you can also watch the response from other viewers,” Nishiyama said. “Often the response is as entertaining as the action. Our producers choose the tweets. It’s a highly interactive way of watching TV.”

The network’s recent dating show Tweet Love – with the tagline “her love life is in your hands” – goes a step further. Co-developed by Sony Pictures U.K., the format features a young single woman and three male suitors. Much like conventional dating shows, the bachelors are profiled in their daily lives and each gives performances and engages in various competitions in an effort to impress and win the interest of the woman. The key difference: she is unable to see the bachelors themselves. Instead, viewers tweet their reactions and impressions and select tweets are presented to her on three floating screens. It’s not until she makes a choice that she sees the various contestants and interacts with them directly – with still more action later determined by viewer tweets. Rather than merely supplementing the viewing experience, viewers’ tweets dictate every aspect of the action.

Read more International Business Themes Dominate Tokyo Market Seminars

Nippon has also developed an app to interact with its various programming. Named “Furi Furi TV,” which translates to “shake shake TV,” the app makes shows into interactive games that viewers play by shaking their smart phones at key moments during broadcast.

For example, during Nippon TV’s recent airing of The Amazing Spider-Man, if viewers shook their phone anytime Spider-Man shot a spider web, they could win points and prizes provided by advertisers. The app also has social network integration so viewers can compete against their friends while watching. During music programming, audiences can win points by shaking and dancing with their phones in synch with the music.

“The idea is to create engagement and viewer participation, while also creating a new channel for advertisers and sponsors, said Nishiyama. “The response was greater than we expected.”

Twitter users in Japan set a world record of 143,199 tweets per second in Aug. 2013 by tweeting “balus” during a television broadcast of Hayao Miyazaki‘s anime classic Castle in the Sky (Tenku no Shiro Rapyuta). A magic word in the Miyazaki universe, “balus” triggers a spell of destruction when said by characters at the beloved film’s climax. Germany’s soccer World Cup blowout of Brazil during the summer set a record of 580,000 tweets per minute, but Japan still owns the per-second title.

How to Maximize Twitter Engagement with your TV Audience

How to Maximize Twitter Engagement with your TV Audience.

Source: http://www.expion.com/four-tips-twitter-tv-engagement/

Live-Tweeting lifts Twitter conversation 

  • Live-Tweeting from cast members during show premieres had 64% more Tweets that day compared to programs that did nothing.
  • Shows that live-Tweeted from the official handle also saw a 7% increase over those that did nothing.

Live-Tweeting lifts follower growth rate

  • When a program is on the air, and DOES NOT live-Tweet, there is a 6.5x lift in follow rate for the show’s official account
  • When a show DOES live-Tweet, that lift increases 15%, to 7.5x.
  • When a cast member live-Tweets, their follow rate increases 228% to 12.2x .

How to make it ?

 

1. Make Social Sharing Easy for Your Cast and Crew

According to Twitter, “the most direct way to make an impact through live-Tweeting is through the cast members. They’re your greatest asset.” Most notably, ABC’s Scandal flooded Twitter with conversations during broadcasts, using hashtags like #AskScandal to connect audiences to the star Kerry Washington, creator Shonda Rhimes and the rest of the show’s cast, writers, and even makeup artists in real time.

The problem is TV stars (and celebrities in general) are not always the easiest to motivate when it comes to getting them to tweet for themselves. That’s going to take some work, but the best way to solve this problem is to bring the digital team into the production process as early as possible. 

Set up a season strategy guide and kickoff meeting for cast members, directors and even crew. Tell the production team the story of their audience members online. The social team probably has a much better view into real conversations taking place, so provide those insights back to the cast and crew to take into account as they’re engaging.

In your strategy guide include a look into what the show’s branded accounts are doing, official hashtags (and fan hashtags) and let them know that the team is there to regularly provide them with assets to share on their accounts (even going so far as including pre-written, suggested tune-in tweets if you have to).

If you can, connect your cast accounts into your social relationship platform. Often times cast members (or their assistant/personal community manager) get to slacking on posting, or in many cases are just not good at creating and engaging in social. A social relationship platform enables a network to push content directly through the cast member’s Twitter and Facebook accounts in these cases, in addition to gaining access to the invaluable data around that particular cast member’s social channels.

Other ideas are simple, you could set up a live-tweeting schedule and assign different people to different episodes and work with them directly. Even more fun, if you can get your team together why not host cast/crew parties where everyone watches and and tweets together?

2. Anticipate Social Storylines

A tweet is both the new applause and the new boo. Why not anticipate (and prime) these emotions? Work with production teams to find potential “tweetworthy moments” ahead of time. Lay out the types of keywords people might say to anticipate those results. Listen for those moments and reactions to them using social listening tools.

Plan your live-tweeting and moderation around these moments, set up moderation streams inside of your moderation software to easily segment tweets about your show based on keywords that determine sentiment, intent, interest in a certain character, the possibilities are really endless.

Make a gameplan that actually schedules out those peak moments for the community team to prep for in advance. Write it down on paper if you have to, no different than production teams have shot sheets.

For example, If your show airs at 8pm and it’s an hour long, and you know that roughly around the 5, 10 and 40 minute mark (give or take for commercials) are these “tweetworthy moments” you might want to list those out so you can plan content and prep for a rush of conversation during those times.

There are a lot of ways you can execute on these “tweetworthy moments.” Aside from live-Tweeting staples like photos, videos and text-based tweets, a reality show might set up a social poll to tweet out to their followers at the height of an episode that speaks directly to a moment in the show.

3. Create winning moments by identifying high impact conversations

Influence is real, and some conversations are just flat-out more engaging than others, there’s no way around it. In fact, the entire Twitter report basically supports this argument by telling social TV marketers to get their stars involved.

This relationship goes both ways, not only do influential cast members hold weight, but so do celebrities and other influencers also talking about your show online.

Let’s be real, top TV shows generate a TON of tweets in the one hour a week that their show might air. It’s almost impossible to respond to each and every tweet in real time, and even tougher for a TV show’s community team to decide who to respond to and about what.

That’s why I believe that TV community managers should be looking to surface high-impact real-time conversations (scored by combining the amount of engagement and true reach) that can result in an instant social lift for a TV show, or what I call “Moments of Spontaneous Conversational Combustion.”

Put simply, the faster you can respond to high-impact discussions, the more opportunities you have to boost viral discussions around your TV show.

So if Taylor Swift is talking about Sharknado, and SyFy responds to her, two massive overlapping audiences are seeing a public conversation play out in real time, increasing the likelihood of different audiences jumping into the conversation adding to the ripple effect.

And while Taylor Swift loving Sharknado is definitely awesome, any tweet from any user with any follower count can spark a high-impact discussion. A good social strategy (combined with Twitter’s improvements to the product through threaded comments, etc) encourages the audience to have their own discussions.

Social relationship tools like Expion can help analyze and filter these conversations to uncover these “Moments of Spontaneous Conversational Combustion.” Instead of flipping randomly through hashtag searches or chronological mentions, a community manager could set up customized streams in their moderation dashboard based on keyword, level of engagement, or other factors.

4. Build a Team of Passionate Players

Assign community managers (either internally or at your community agency) to shows they have interest in. Your community manager is spending all day and night immersed in story lines, so that constant mutual excitement helps build deeper bonds with the audience and also helps your community manager to avoid burnout because they’re actually having fun.

TV is highly polarizing. When you love a show you love it and can talk to anyone about it (people still talk about Lost and it ended like 5 years ago, I am one of those people). Execution is everything. You can’t expect to build a raving fanbase online about a TV show without having some great community minds behind your audience development who share that same passion. That’s why you need to hire amazing talent.

 

Over 10% of UK Digital Ad Revenues to Come from Social Networks – eMarketer

Over 10% of UK Digital Ad Revenues to Come from Social Networks – eMarketer.

Social network ad spending in the UK is still on a strong upward trajectory, with eMarketer expecting 50.0% growth this year. By the end of 2014, social networks will be home to 10.5% of all digital ad spending in the UK, and we expect this share to rise by 4.2 percentage points in the next two years.

 

Overall UK digital ad expenditures, which include spending on all formats served to internet-connected devices, will total £7.25 billion ($11.33 billion) in 2014—up 15.0% from 2013. Mobile and video ad outlays will continue to grow dramatically, pushing digital’s share of UK total paid media ad spend to 47.9%.

The vast majority of social network ad spending goes to Facebook, the UK’s largest social network. This year, Facebook will see 7.5% of all digital ad spending in the country—nearly three-quarters of the 10.5% going to social networks overall. By 2016, nearly one-tenth of all UK digital ad outlays will go toward the social networking giant—along with more than one-quarter of all digital display ad spending.

Twitter accounts for a much smaller share of the pie, at just 1.3% of digital ad spending in the UK this year, or 3.9% of UK digital display ad spending. But Twitter itself is somewhat more reliant on the UK as a revenue source, collecting an estimated 12.9% of its ad revenues there this year.

eMarketer has adjusted its estimates for Facebook’s and Twitter’s UK ad revenues upward since its earlier forecast, based on higher-than-expected earnings reported in Q2 2014.

On a per-user basis, UK social network advertisers will spend £23.24 ($36.31) trying to persuade social networkers to convert from prospects into customers, or simply building brand awareness. That’s up nearly as fast as social network ad spending overall, and eMarketer expects the figure to continue to rise at double-digit rates through at least 2016. That year, we estimate, UK advertisers will spend £36.49 ($57.02), on average, to reach each social network user via paid media on such sites. That will represent around a threefold increase since 2012.

eMarketer bases all of our forecasts on a multipronged approach that focuses on both worldwide and local trends in the economy, technology and population, along with company-, product-, country- and demographic-specific trends, and trends in specific consumer behaviors. We analyze quantitative and qualitative data from a variety of research firms, government agencies, media outlets and company reports, weighting each piece of information based on methodology and soundness.

In addition, every element of each eMarketer forecast fits within the larger matrix of all our forecasts, with the same assumptions and general framework used to project figures in a wide variety of areas. Regular re-evaluation of each forecast means those assumptions and framework are constantly updated to reflect new market developments and other trends.

- See more at: http://www.emarketer.com/Article/Over-10-of-UK-Digital-Ad-Revenues-Come-Social-Networks/1011214/2#sthash.wsruTceU.dpuf

Influencia – Twitter influence-t-il vraiment la consommation TV ? lmpact réciproque d’un trend Twitter sur l’audience d’un programme

Influencia – Twitter influence-t-il vraiment la consommation TV ?.

Résaux sociaux, acceptez-vous de prendre pour époux les programmes TV ici présents, pour le meilleur et sans le pire ? Faites sonner les cloches, voler le riz et chanter les glottes, vive les mariés ! Sans attendre neuf mois, l’union a accouché d’un phénomène en passe de modifier notre consommation télévisuelle à la racine. Depuis deux ans INfluencia analyse le phénomène, ses nouveaux outils et ses conséquences. En juin 2013, nous passions à la loupe les résultats d’une nouvelle étude de BI Intelligence, qui confirme l’avènement de la TV sociale. Mais une question restait sans réponse analytique : le tweet fait-il l’audience ou bien est-ce le programme qui fait le tweet ? Les deux, répond une nouvelle étude indépendante de Nielsen.

Pour la première fois, un rapport apporte des preuves statistiques sur l’impact réciproque d’un trend Twitter sur l’audience d’un programme. Les deux sont donc interdépendants. L’étude deNielsen est partie d’une ambition initiale : déterminer si l’activité sur le réseau de micro-blogging améliorait l’attractivité d’un contenu en cours ou si au contraire, c’est la popularité du programme qui suscite plus de conversations sur Twitter.

Pour dessiner des cadres de réponses statistiques, Nielsen a analysé minute par minute l’audience et le flux social générés par 221 programmes de primetime, grâce à sa plate-formeSocialGuide : sur 48% des émissions, l’audimat se révèle être d’une influence notable sur le nombre de tweets concernant le programme. Autre constat intéressant, le volume de tweets provoque des changements significatifs sur l’audimat pour 29% des contenus étudiés.

SEEiT, l’outil qui corrobore

« Nous avons constaté un lien de cause à effet significatif indiquant qu’une poussée d’audimat sur un programme TV peut sensiblement accroître le volume de tweets. Mais il est aussi intéressant de constater que l’inverse est également vrai, commente dans un communiqué publié sur le site de Nielsen son directeur de recherches Paul Donato. Cette approche rigoureuse d’une analyse statistique fournit à nos clients et aux médias une meilleure compréhension de l’interaction entre Twitter et l’audience TV. »

Pour pointer sa loupe analytique encore plus près du phénomène, l’étude s’est carrément attardée sur les impacts réciproques par style de programme. Nous apprenons donc que l’influence de la conversation dans le nid de l’oiseau bleu diffère en fonction du genre. Le champion de l’impact par tweet est la télé réalité (44%), devant la comédie (37%), le sport (28%) et le drame (18%). « Les groupes de médias et les annonceurs ont déjà investi dans la capacité d’audience des médias sociaux, qui leur permettent un engagement plus direct avec les consommateurs. Quantifier la relation entre la télévision et l’activité sociale est pour eux primordial », assure Paul Donato. C’est dans cet esprit que Comcast a lancé SEEiT il y a quelques mois. Cette plate-forme en cloud relie directement le buzz social àu programme TV qui le génère. Les premières données confirment les constats de Nielsen : plus de 50% des gens qui interagissent avec SEEiT via Twitter regardent ou enregistrent une émission dans la foulée.

Benjamin Adler / @BenjaminAdlerLA

Une coupe du monde mobile et sociale : Retour sur le premier événement Social Media en 20 chiffres | Viuz

Une coupe du monde mobile et sociale : Retour sur le premier événement Social Media en 20 chiffres | Viuz.

La coupe du monde réunit 3,2 milliards de télspectateurs devant leus écrans, soit trois fois plus que le superbowl.

Avec plus d’1 milliards de partages sur Facebook et 300 millions de tweets dès le 30 juin la coupe du monde a également constitué le premier événement le plus partagé sur les medias sociaux de l’histoire.

Synthèse d’un phénomène mobile et social en 20 chiffres :

1- @Bracuza le ballon officiel de la coupe du monde a recueilli plus de 3,2 millions de followers sur son compte twitter

2- Adidas aurait payé 80 millions de dollars à la Fifa pour devenir sponsor official du ballon de la coupe du monde.

3- Au 30 juin, sur Facebook près de 220 millions de personnes avaient partagé plus d’1 milliard de posts soit 5 fois plus que le SuperBowl, et 9 fois plus que les jeux olympiques d’hivers de Sotchi

4- Google a recensé 2 milliards de recherches liées à la Coupe du Monde

5- La fameuse photo de Neymar et Hulk a été likée 2,7 millions de fois

6- La finale Argentine-Allemagne a généré 32,1 millions de tweets contre 36,5 millions de tweets pour le match Brésil Allemagne, en comparaison le SuperBowl avait recueilli 24,9 millions de Tweets sur le Hastag #SB48

7- Selon Experian les Fans de la coupe du monde sont 36% plus énclins à regarder les matchs sur plusieurs écrans.

8- Selon l’IAB : 48% des spectateurs avaient prévu de regarder les matchs sur leurs smartphones (contre 32% pour les PC et 18% sur les tablettes) faisant du smartphone de facto le deuxième écran de la coupe du monde

9- La Pub Nike Football the last Game a été vue près de 63 millions de fois sur You Tube. La version « Winners Stay » avec Neymar, Ronaldo, Neymar Jr., Rooney, Ibrahimović et Iniesta plus de 86 millions de fois

10- La finale a généré 112 millions de Tweets. La précédente finale de la coupe du monde avait généré seulement 32 millions de tweets.

11- Avec 3,2 milliards de spectateurs, 64 matchs et de nombreuses coupures publicitaires la coupe du monde génère en moyenne 770 milliards de minutes d’attention dans le monde.

12- 43% du public de la coupe du monde est féminin mais la population féminine domine en France, en Argentine et au Brésil.

13- 22 marques ont payé 730 millions de dollars pour devenir sponsors officiels de la FIFA

14- La coupe du monde a battu tous les records de streaming selon Akamai le record est détenu par le match Allemagne-Portugal avec 4,3 Terabits par seconde constatés sur le réseaux.

15- BeIN Sport a généré 850.000 abonnés supplémentaires grâce à la coupe du monde

16- Plus de 650 milliards de dollars auraient été pariés durant la coupe du monde dont 160 milliards en Chine.

17- Un norvégien a correctement prédit que Suarez mordrait un adversaire durant le match Italie-Uruguay, il a gagné 2700 dollars.

18- Selon Zenith Optimedia la coupe du Monde devrait booster cette année les dépenses publicitaires de 1,5 milliards de dollars.

19- Sponsors Officiels vs Non Sponsors ? Selon Brandwtach, Beats (qui n’est pas un sponsor Fifa Officiel ) aurait ravi la vedette à Sony dans les premiers quinze jours de la coupe du monde.

Parallèlement selon Mattr, Nike (sponsor non-officiel) aurait bénéficié du même taux d’engagement sur les Fans Fifa (environ 16%) qu’Adidas le sponsor officiel même si Adidas dépasse largement Nike en en termes d’utilisateurs engagés avec 332 000 utilisateurs sur son Hastag #Allin contre 223 000 pour Nike #Riskeverything

20- Selon une analyse de Criteo le e-commerce se porte mieux en cas de défaite lors du mondial, Les ventes en ligne chutent de 15 à 35 % pendant les matchs


En savoir plus sur http://www.viuz.com/2014/07/12/une-coupe-du-monde-mobile-et-sociale-retour-sur-le-premier-evenement-social-media-en-20-chiffres/#apjxZ1g5dIhUA7oH.99

Twitter will soon dominate TV on Xbox One

Microsoft has announced that a number of popular apps including HBO Go, Showtime Anytime, Comedy Central, and others will launch on Xbox One by year’s end. But easily the biggest aspect of today’s news is the huge role Twitter will soon play in Microsoft’s TV plans. Twitter will be directly integrated in the Xbox One’s TV experience, and this is much more than the mediocre app that came before on Xbox 360.

This time, Microsoft says Twitter has been “optimized for the biggest screen in your house in a smart, contextual way.” It will automatically display tweets related to the shows you’re watching on cable, for instance. And Twitter will also have a place in Xbox One’s OneGuide: you’ll see hashtags in TV listings, and a new “trending” section will highlight shows that are currently being discussed across the service. In one fell swoop, Microsoft just became a key partner to Twitter’s interactive TV ambitions. Comcast has rolled out similar Twitter support for its X1 cable platform.

Twitter is no longer relegated to the smartphone or tablet next to you on the couch. It’s now on the other screen you spend hours staring at each day. But will the result prove engaging or annoying? It’s up to Microsoft to find that balance. Here’s what the company has to say about the new integration right now:

A commercial break turns into a quick and easy opportunity to see what other viewers are tweeting about without pulling out your phone, swiping at a tablet, or taking your attention away from your TV.

183.000 tweets en une minute pour Robin Van Persie (SRP)

183.000 tweets en une minute pour Robin Van Persie – 7SUR7.be.

© afp.

Le premier des cinq buts des Pays-Bas vendredi soir face à l’Espagne (5-1) au Mondial, une tête plongeante de Robin Van Persie, a généré à lui seul un pic de plus de 183.000 tweets en une minute, a indiqué Twitter.

La lourde défaite de l’Espagne, championne du monde en titre, a suscité un total de plus de 8,3 millions de tweets dans le monde lors de la retransmission du match.

Le premier des deux buts de l’attaquant néerlandais, celui de l’égalisation à la 44e minute, a cristallisé 183.076 tweets en une minute. Celui de Stefan de Vrij (3-1 à la 64e minute) en a généré 181.726 et le second d’Arjen Robben, celui du 5-1 à la 80e, 125.800, toujours en l’espace de 60 secondes.

Les deux autres matches de la soirée, Mexique-Cameroun (1-0) et Australie-Chili (1-3), ont généré respectivement plus de 3,6 millions et plus de 2,2 millions de tweets sur le réseau social qui compte un total de 255 millions d’utilisateurs actifs dans le monde.

La veille, le match d’ouverture du Mondial opposant le Brésil à la Croatie (3-1) avait vu à lui seul quelque 12,2 millions de tweets échangés.

Parmi les tweets les plus partagés sur le réseau au cours de la soirée, celui du sélectionneur de l’équipe mexicaine Miguel Herrera après la victoire sur le Cameroun: “se la rifaron los chavos, dejaron el alma en la cancha. ahora a pensar en el siguiente partido” (“les gars ont tout donné, ils ont mis toute leur âme sur le terrain. Maintenant il faut penser au match suivant”), qui a été retweeté 6.070 fois.

Twitter has released a World Cup video encouraging consumers to use the service during the upcoming games (Goodby, Silverstein)

Twitter has released a World Cup video encouraging consumers to use the service during the upcoming games.
The video was created by Goodby Silverstein & Partners, which is going to handle a larger brand campaign for Twitter later this year, according to a spokeswoman for the agency. The video introduced a slogan, “Love Every Second,” that will likely appear in future brand marketing.
Twitter earlier this year reached out to ad agencies seeking ideas on creative ways to market the service and build the Twitter brand. A Twitter spokesman confirmed that Goodby made the World Cup video but declined to discuss future plans.
Twitter has previously dabbled with agency relationships. The company in 2011 enlisted PR giant Edelman to educate consumers on the virtues of Twitter, though that relationship eventually wound down. In 2012, agency West created a TV ad for Twitter for a Nascar partnership. Twitter has also worked with Interpublic’s Huge on a project basis.
Along with the World Cup video by Goodby, which is not slated to appear on TV, the company has introduced features tailored to the Cup, including two hashtags to follow the matches and a re-introduced “hashflag” — an ability for users to display tiny emblems of the teams with three letters. “Hashflag” activity will then be tallied up for a contest dubbed the “World Cup of Twitter.”
Twitter has proven its ability to net significant free exposure with major live events, as it proved most recently with Ellen DeGeneres’ selfie at the Oscars. But the company has also been struggling to improve user growth and reach a broader mass of consumers.
During the first quarter, Twitter added 14 million monthly active users, an uptick from the fourth quarter of 2013 but a continued sign of subpar growth next to the tremendous social-networking reach of Facebook. Twitter is eager to lure in new users and attract dormant ones back.
The World Cup is a massive opportunity. It offers an attentive, obsessive audience of die-hard fans in parts of the globe where Twitter has the most room to grow. eMarketer recently estimated that a bulk of Twitter’s growth in the next four years would come from emerging markets.

User growth in Brazil, the World Cup host country, is expected to shoot up 37.3% this year. And with the games, Twitter hopes to leverage the wild popularity of star players such as Cristiano Ronaldo, who has 26.6 million followers and is a central part of Nike’s marketing push.
Twitter also released a version of its video this morning in Portuguese.