Le multi-tasking et la social TV sont moins présents en Europe que dans le reste du monde, selon une étude internationale de Nielsen – Offremedia

Le multi-tasking et la social TV sont moins présents en Europe que dans le reste du monde, selon une étude internationale de Nielsen – Offremedia.

Le 08/04/2015


En regardant des programmes audiovisuels, les internautes européens pratiquent moins le multi-tasking que les internautes des autres continents, et sont moins intéressés par la connexion avec les réseaux sociaux, selon l’édition 2014 de l’étude «Global Digital Landscape» de Nielsen.
Seulement 44% des Européens déclarent surfer sur Internet pendant qu’ils regardent des contenus audiovisuels, contre 63% des Asiatiques et 62% des Nord-Américains.
A peine un quart des Européens (26%) déclarent regarder davantage des programmes live s’ils incluent un dispositif social media, contre 49% pour la moyenne mondiale.


Au niveau mondial, l’étude de Nielsen montre à la fois que la diffusion live et la taille de l’écran demeurent des éléments essentiels pour la consommation de programmes mais aussi que les écrans mobiles et le délinéaire trouvent leur place dans le parcours du spectateur. Ainsi, si 65% des sondés déclarent préférer la vision en live des contenus, 64% disent que la programmation différée facilite leur agenda. De même, si 63% des personnes interrogées estiment que l’écran le plus grand est le meilleur pour regarder des programmes, 59% déclarent qu’il est pratique de les visionner sur leur écran mobile.


La télévision reste l’écran préféré pour regarder la plupart des genres de programmes (infos, fictions, sports…), à l’exception des vidéos courtes, pour lesquelles les internautes préfèrent l’ordinateur puis le smartphone.


La dernière édition de l’étude «Global Digital Landscape» de Nielsen, créée en 2005, a été menée entre le 13 août et le 5 septembre 2014, auprès de 30 000 internautes dans 60 pays sur tous les continents.

Social TV Year-in-Review: 4. There’s room for sponsors to participate (Source: Orange Room – Lost Remote)

Social TV Year-in-Review: ‘TODAY’ Orange Room Producer Adam Miller – Lost Remote.


The below post is part of our 2014 Social TV Year-in-Review guest post series and is written by TODAY Orange Room Producer Adam Miller. 

2014 was the year of…Orange. In September, we celebrated the one-year anniversary of TODAY’s groundbreaking social initiative, the Orange Room hosted by Carson Daly. With our digital studio and audience-driven content across platforms, we’ve become a model for success in social television.

Here are 9 things we learned about social TV in 2014:

1.       The audience is excited to be involved.

In the first year of the OR, #OrangeRoom trended 127 times. And that’s just the #OrangeRoom hashtag!

2.       Social really allows us to tear down the fourth wall.

We’ve been able to open direct lines of communication between our team and the audience. In just one example Matt Lauer joined Facebook in 2014, kicking off a series of successful weekly live Facebook chats with our viewers.

3.       You can’t plan some of the best moments.  

From Rokering to Rokerthon, being able to rapidly respond in real time is key, and that’s a big shift from the last six decades of morning news.

4.       There’s room for sponsors to participate in new ways.

#LoveYourSelfie and #RealDadMoment are great examples of programs where we’ve partnered with brands that are having similar conversations to our own editorial discussions.  As long as we’re transparent with the audience, we’re excited to include sponsors in new ways going forward.

5.       Every social platform is different.

Different content works on different platforms so we don’t try to force universal solutions. Hashtag battles work well on Twitter, while Facebook has been a great platform to continue thoughtful conversation during and after the broadcast.

6.       Content goes both ways.

Just as we’re listening to social conversations to build broadcast segments, we’re also using broadcast assets to create content specifically for the digital audience. TODAY’s Flashback, Versus, and Parental Guidance are just a few of our successful online original video franchises we launched in 2014. Much more to come on that front in the next year!

7.       Consumers want social currency to “share and tell”

The traditional water cooler talk has become a thing of the past, replaced with trending and buzzworthy stories that consumers strictly want to “share and tell” as they socially navigate through the day.

8.       Embrace the second screen conversations

It’s become more important than ever to watch live TV with a second screen open and active.  Not only are we active on social during our own show, we also bring the TODAY perspective to conversations that grab our collective national attention like the Super Bowl and the Oscars. These viewing experiences have truly become communal and the live social commentary is where the content we air in the Orange Room the following day originates. TV is just the tip of the iceberg.

9.       This is just the beginning

I believe the next frontier for social television is video, video, video! Expect to see a big push in this space as brands produce more and more original video solely for digital purposes, and this video makes its way onto the broadcast with more frequency. Also anticipate we’ll see television programs encouraging viewers to create and share their own video for TV purposes as well. UGC should grow beyond just photos and text in the new year as technology makes it easier to share and more people become proficient with creating their own video.

Carson Daly has seamlessly taken the reins of the Orange Room and given our audience a voice within the broadcast and beyond. Yes, hashtags and handles, filters and feeds, likes and links are all here to stay and I’m excited to see what happens next. In looking ahead to the new year, TODAY will absolutely continue to pave the digital path forward, setting the agenda on a daily basis and enhancing our viewers’ brand experience both on-air and online.  It’s truly a privilege to empower and engage our viewers through the Orange Room each and every morning. Here’s to #SeeingOrange in 2015…


Other source: Telescope CEO – Jason George
By Adam Flomenbaum on December 11, 2014 10:00 AM

Building Time-Shifted Audiences: Earned social media ‘reminds’ people to watch an episode after the live airing. +10% Tweets = +1.8% Reach (18-34 USA)

Building Time-Shifted Audiences: Does Social TV Play a Role? – Nielsen Social.

Before social media, if you missed a live episode of the latest hit show, you’d feel left out of the conversation at the water cooler. In today’s instantaneous world of social media, however, you’re more likely to feel left out on Twitter. And that fear of missing out seems to be pushing people to catch up: New research from Nielsen found that earned social media ‘reminds’ people to watch an episode after the live airing.

Does #SocialTV remind people to watch after a live airing? @NielsenSocial looks at how social boosts +7 audiences.


It’s no secret that audiences today are using more than one screen while watching TV, and recent research from the Advertising Research Foundation (ARF) and FOXViacom and other industry sources has explored the benefits of this activity, from inspiring audiences to start watching new shows to encouraging loyal viewers to watch programs live.

Time-shifted viewing has become increasingly important to networks and advertisers with some networks seeing over 50% of their 18-34 aged viewership coming in the seven-day window after the live airing. In fact, several broadcast networks have stated their intentions to supplement daily overnight ratings with projections for their live “+7″ audiences (i.e., the number of people who watch the show during the seven day period after the live airing).

To understand +7 viewership for any series’ episode, we evaluated 11 different variables across five categories—including measurements, as well as episode, program and network characteristics—to explore what factors contribute to viewers’ decisions to watch a show later in the week.

Many Program Elements Impact Time Shifted Viewing_NielsenSocial

Not surprisingly, the most important factor changing how many viewers watch later was an episode’s live audience tune in, accounting for 42% of variance in +7 TV audiences. So, just under half of the difference between the live and +7 audiences can be explained by the size of the original live audience. Conventional wisdom on several other variables also bore out. For example, reality series were 31% more likely to be watched live. A premiere episode, regardless of genre, was 15% more likely to be watched live.

Interestingly, all 11 variables tested proved to be statistically significant. In other words, all measurements and characteristics we looked at affect time-shifted viewing. In fact, this integrated model explains 72% of the variance in the +7 audience, significantly higher than what the live audience could explain alone. Moreover, Nielsen Twitter TV Ratings (NTTR) impressions were significant, even after accounting for the effect of the other 10 variables. Specifically, a 10% increase in NTTR impressions corresponded to a 1.8% increase in the +7 audience, indicating that social media activity around TV programming is playing a role in driving viewers to watch programming later in the week.

How does Social Impact Time-shifted Viewing_NielsenSocial

To further explore social media’s effect on time-shifted viewing, we isolated a set of shows that have the same exact characteristics (e.g., broadcast, non-Spanish, drama series etc.) aside from audience size and NTTR impressions. Splitting each set of shows into two buckets, high and low social, we can compare each group’s delayed viewing relative to its live audience. For ‘high social’ shows, +7 audiences are 36% larger than live audiences while ‘low social’ shows’ +7 audiences are just 16% larger than live audiences. In other words, more social shows see a greater boost in time-shifted audiences than less social ones.

Highly social shows see boost in time-shifted audience_nielsensocial

These analyses have two big implications for the industry. First, networks gain insight into their delayed audiences and how to grow them. Second, they help explain how much impact social media has on delayed TV viewing today. 

“We are aware from our work with the ARF that exposure to TV Tweets drives consumers to take action,” said Judit Nagy, Vice President of Analytics, FOX. “And these recent findings further demonstrate an undiscovered opportunity in social word of mouth during and around live programming. For FOX programs, we see a relationship between ratings and a program’s social share of voice, demonstrating the potential for social conversation to generate and increase Live +7 performance.”

“We all know that social media has value, but quantifying that still remains a mystery,” added Nagy. “These findings get us one step closer to fully understanding the relationship between social activity and TV ratings and enabling us to take better advantage of social media as a platform that can drive viewership.”

Networks can use these approaches to measure the impact of stronger social media investments (e.g., getting the program cast to engage audiences by Tweeting during live airings) on delayed viewing. They also encourage TV networks to create more sharable content (e.g., memes, short-form video, games, etc.). As social media becomes further ingrained in audiences’ TV viewing habits, these results will continue to improve our understanding of the social TV phenomenon and build toward additional, practical insights for networks and advertisers.



For the purposes of this research, earned social media was measured using Nielsen Twitter TV Ratings (NTTR), which measure the number of people posting Tweets about TV as well as the “audience” of people who actually see those Tweets. Specifically, the NTTR metric evaluated was Live +7 Twitter TV Impressions across demographic segments (13+), which measure the total number of times any Tweets about a TV episode were seen from when the Tweets were sent until the end of the broadcast day, 7 days following air. Our dataset included over 5,000 primetime series first-run airings during the 2013-2014 TV season from 17 English and Spanish broadcast and cable networks. We evaluated the TV viewing behavior of the 18-34 aged segment, as it generally accounts for at least 40% of the Twitter TV activity for primetime series programming.

Connecting with Social Brand Ambassadors – (The Nielsen SRP version)

Connecting with Social Brand Ambassadors – Nielsen Social.


When big moments happen on TV today, viewers are turning to phones, tablets and computers to share their reactions instantly through social media—and they are doing it a lot. In the first four months of 2014, 17 million people sent 361 million tweets about TV. But tweets about TV are only part of the social TV story. The other half is tweets about brands that advertise on TV. In the same four-month period, 17 million people sent 215 million tweets about the approximately 700 brands that Nielsen Social tracks.

In a recent study, we analyzed the overlap between these two populations—people who tweet about TV and people who tweet about brands—to understand the value of social TV audiences to brands. The study produced four powerful insights:

First, this population of social brand ambassadors—people who tweet about TV and tweet about brands—is large. The study found that in an average month, 64% of people who tweet about brands also tweet about TV. So if a brand is looking to engage people who are likely to share their brand message, connecting with social TV authors is a good place to start.

Second, the study found that people who tweet about both brands and TV account for an outsized portion of all tweets about brands. The 64% of people who tweeted about brands and TV sent 78% of all brand Tweets.

Social brand ambassadors — in an average month, @TwitterTV authors post 78% of brand Tweets #socialtv @nielsensocial


Third, the study found that people who posted Tweets about TV and brands sent three times as many brand Tweets as those Twitter authors who only posted Tweets about brands.


Finally, the study found that people who tweet about brands and TV have twice as many followers as those who only tweet about brands. In other words, those TV authors are twice as influential as brand authors that don’t tweet about TV. They amplify messages to twice as many followers with each brand Tweet sent.


Not surprisingly given these findings, advertisers and agencies are taking note of social TV and are layering a social lens on TV ratings to sharpen media planning and buying decisions. They are also looking at social TV affinity to find the TV audiences that fit their brand or category. Finally, advertisers are using social TV measurement to understand campaign effectiveness—to find out in which programs, on which networks and with what creative campaigns perform the best socially.

At this year’s Nielsen Consumer 360, Deirdre Bannon, vice president, Product at Nielsen Social, joined a panel—including Roni Karassik, Sr., campaign research manager at Microsoft, Jed Meyer, global research director at Annalect, and Berj Kazanjian, senior vice president, Ad Sales Research at MTV—to talk about this powerful cross section of people who tweet about brands and TV: today’s socially active brand ambassadors.


Social TV : 81% des internautes de 15-24 ans régulièrement adeptes du second écran pendant qu’ils regardent la télévision ! | airofmelty.fr

Social TV : 81% des internautes de 15-24 ans régulièrement adeptes du second écran pendant qu’ils regardent la télévision ! | airofmelty.fr.

Une nouvelle étude réalisée par Médiamétrie et baptisée Screen 360 vient de mettre en lumière le fait que la Social TV est en plein essor chez les 15-24 ans ! Second écran, commentaires sur les réseaux sociaux et application interactive, aucun aspect de la Social TV n’est oublié !


Le mois dernier, à l’aube du coup d’envoi de la Coupe du Monde 2014, Air of melty vous avait annoncé que 30% des moins de 35 ans comptaient commenter les matchs du Mondial 2014 sur les réseaux sociaux, preuve que la Social TV est en plein essor en France. Encore plus fort que les espérances, les premiers résultats avaient finalement surpris en certifiant que 51% des 18-24 ans s’étaient livrés au multitasking multiécrans lors du premier match des Bleus, France-Honduras. Aujourd’hui, une nouvelle étude menée par Médiamétrie et baptisée Screen 360 permet d’y voir un peu plus clair. Selon les informations que nous a communiquées Isabelle Lellouche-Filliau, l’effet Coupe du Monde semble bel et bien accentuer le phénomène de Social TV chez les jeunes. Un phénomène pas encore majoritaire mais bel et bien très présent chez les moins de 30 ans en tout cas !

social tv,social tv, télévision, jeunes, multiécran, second écran, étude

Ainsi, selon l’étude, 32% des internautes âgés de 15 à 24 ans ont déjà écrit des commentaires au sujet d’un programme TV regardé en parallèle, contre 17% en moyenne. Et à ce sujet, 55% des jeunes internautes utilisent leur téléphone mobile pour écrire des commentaires au sujet du programme TV regardé. On vous le disait il y a peu, les 13-24 ans préfèrent aujourd’hui le téléphone portable à la télévision dans leurs activités média et multimédias. Aujourd’hui,cette étude permet de montrer que ces deux supports sont souvent complémentaires, comme en atteste par exemple le fait que 81% des internautes de 15-24 ans déclarent utiliser au moins une fois par semaine un autre écran pendant qu’ils regardent la télévision, contre 65% des internautes moyens. L’autre écran en question est, sans aucun doute, principalement le téléphone portable, qu’ils peuvent consulter jusqu’à 50 fois par jour !

D’autre part, l’étude Screen 360 a permis de révéler que 35% des 15-24 ans ont déjà utilisé une application de second écran, qui se retrouve parfaitement essentielle en matière de Social TV.

Comment favoriser l’engagement des téléspectateurs avec la Social TV – Examples

Favoriser l’engagement des téléspectateurs avec la Social TV.

Tout au long de cette année Social TV, les chaînes et producteurs de contenus ont multiplié les dispositifs digitaux pour attirer, retenir et engager les téléspectateurs.

French Social TV vous propose un tour des meilleures pratiques constatées en France mais également à l’étranger pour atteindre ces objectifs. Ce dossier sera décomposé en 3 parties : avant, pendant et après la diffusion d’un programme.

L’infographie suivante résume les principales pratiques remarquées, via la veille sur le compte Twitter et la page Facebook de French Social TV.

Bien entendu, il peut manquer des éléments … n’hésitez pas à rajouter en commentaire vos observations.

Social TV Best Practices by French Social TV

Très longtemps délaissée, la période précédent la diffusion d’un programme s’avère être très importante car elle ancre dans l’esprit des internautes la venue de celui-ci.

On constate principalement 3 grandes familles d’actions Social TV réalisées par les chaînes et producteurs de contenus TV:

  1. Conversations : créer des discussions pour favoriser l’arrivée du programme.
  2. Second Ecran : habituer le téléspectateur à utiliser ce site ou application. Faire en sorte que cela devienne la principale source d’information du programme.
  3. Warm up : chauffer la salle encore et toujours.


  • Discussions autour du programme (LiveTweet, Post …) : NT1 et l’agence Darewin souhaitaient promouvoir la date de diffusion et présenter le nouveau Bachelor. Pour cela, ils ont décidé de réactiver les influenceurs et Twittos qui ont regardé et livetweeté le Bachelor l’année dernière.


  • Exclus et Bonus des coulisses : au delà des classiques clips, interviews, photos,… Arte propose une critique de sa série phare « Real Humans ». L’idée est de donner envie de regarder le programme avec un argumentaire clair et étoffé.


  • Moments passés (clips, interviews, photos, phrases clés…) : capitaliser sur les précédents épisodes est clairement la solution de base. Mais profiter d’événements extérieurs peut s’avérer plus pertinent comme dans le cas des élections et de l’émission Mots Croisés de France 2.


  • Teasing/moments à venir : là aussi, c’est un grand classique. Game of Thrones publie quelques vidéos, toujours très courtes, de présentation de la nouvelle saison. Les producteurs savent très bien que chaque plan sera analysé et fera l’objet de discussions sur les réseaux sociaux.


  • Participation des stars : avec les Hangouts de Google+, les chaînes et producteurs disposent d’un moyen très simple pour organiser rapidement des prises de parole de la part de stars de l’émission. The Voice et bien d’autres organisent très souvent des sessions quelques jours avant la diffusion du prime.

the voice-hangout-social-tv

  • Contenus externes (radios, couverture magazines …) : les magazines, journaux et autres sites web annoncent très souvent l’arrivée d’un programme. C’est autant de matière pour animer une page Facebook par exemple.


  • Influenceurs : quelques semaines avant le lancement de la saison du Meilleur pâtissier, M6 avait convié plusieurs blogueurs (univers cuisine principalement) chez Cuisine Attitude by Cyril Lignac pour participer à un concours de cuisine. L’idée était de réaliser un cake et de noter les réalisations en 2 temps : par Mercotte (membre du jury) d’abord et en recueillant le maximum de « Likes » sur Instagram.


Second Ecran

  • Replay/VOD : entre deux épisodes, la Nouvelle Star sur D8 en profite pour donner des contenus additionnels spécifiques sur le site de second écran.


Warm up

  • Rappels : HBO maîtrise ce point à merveille. Les images avec cette fameuse date ont été reprise énormément par les fans.


  • Hashtags : classique désormais, chaque programme dispose de son propre hashtag. Très régulièrement, les comptes sociaux des programmes rappellent son existence.


  • Eléments graphiques : actuellement TF1 incite les fans de Secret Story à devenir ambassadeur du programme en customisant le logo de l’émission avec leur prénom via une application Facebook.


Rendez-vous la semaine prochaine pour suivre la 2ème et 3ème partie de ce dossier.

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Véritable passionné d’Internet, j’apprécie de faire de nouvelles découvertes mais surtout être étonné par les nouvelles technologies. Je m’intéresse à plusieurs sujets comme la SocialTV, le Cloud Computing, le vin … Des thèmes variés ayant tous comme point commun l’utilisation des médias sociaux comme stratégie de communication. J’ai été consultant marketing pour plusieurs acteurs informatiques, dans les domaines du Cloud Computing notamment. Aujourd’hui, je suis en charge du marketing stratégique et opérationnel chez un éditeur de logiciel.

Billboard Twitter Real-Time Charts Go Live | Billboard

Billboard Twitter Real-Time Charts Go Live | Billboard.


Billboard and Twitter officially launch the Billboard Twitter Real-Time Charts. These new, interactive charts redefine how fans interact with, and influence, popular content by ranking the most popular songs being shared on Twitter in the U.S.

The first of the real-time charts, the Billboard Trending 140, is an up to the minute ranking of songs shared in the U.S., measured by acceleration over the past hour. This chart can be filtered to present a real-time view of the most shared track in the U.S. over the past 24 hours, with a weekly summary presented as the Billboard Twitter Top Tracks chart on Billboard.com and in print in Billboard.

The Billboard Twitter Emerging Artists chart is a ranking of the most shared songs on Twitter in the U.S. by up-and-coming artists ranked by the number of times each song was shared over the past 24 hours. Billboard Twitter Emerging Artists is presented as a seven-day/weekly round up on Billboard.com and in print in Billboard.

Realtime Billboard: http://realtime.billboard.com/?chart=trending140

Song shares are tracked and incorporated into the Billboard Twitter Real-Time Charts by:

*  the use of, or the inclusion, of a link to the song via music listening platforms, such as Spotify, Vevo and iTunes.

*  the use of various track sharing notations, such as the hashtags “#nowplaying” or “#np,” along with song/artist name.

*  the use of various terms associated with the song and song playing, such as “music,” “song,” “track,” “listen.”

The charts are specifically designed to work with how users share and interact with music on Twitter, which is the most discussed subject on the platform in the U.S. with more than one billion Tweets sent about the topic in 2013. One-hundred million of those Tweets came from music accounts, and seven of the top 10 most-followed accounts on the entire platform are musicians.

“I am thrilled to be one of the first artists to see my songs move on the Billboard Twitter Charts,” said Mahone. “For me, it’s always about my fans, and I love seeing what all my Mahomies are saying about the new EP – it’s exciting that there’s finally a platform that tracks what the fans are saying about music in real-time.”To launch the Billboard Twitter Real-Time charts, Billboard teamed up with pop star Austin Mahoneto showcase just how the sharing of a track by fans on Twitter, in this case with “The Shadow” – a song from his just-released EP “The Secret” – can drive popularity and chart ranking.

The Billboard Twitter Real-Time charts are another example of Billboard staying at the forefront of tracking music consumption. With the launch in recent years of the Social 50On-Demand Songs and Streaming Songs, and now the Billboard Twitter Real-Time charts, Billboard has empowered music fans and music consumers with rankings that reflect how they interact with music and artists.

Consistent placement in the high rankings of the real-time chart can help artists gain placement on the two weekly versions of the real-time charts, which will be found in print each week in Billboard magazine.