Twitter et Socialyse mesurent l’amplification du réseau social sur la TV – Offremedia

Twitter et Socialyse mesurent l’amplification du réseau social sur la TV – Offremedia.

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Twitter France a présenté hier, avec Socialyse, l’entité social media du groupe Havas, les résultats de l’étude «TVxTwitter», menée en octobre dernier, qui décrypte la place du réseau social dans les nouvelles formes de consommation télévisuelle.
A cette occasion, ont été présentés les résultats d’une étude réalisée sur 3 annonceurs de 3 secteurs différents (énergie, entertainment audiovisuel, banque-assurance). Ils montrent l’amplification de l’impact de la communication auprès des personnes exposées à la TV + Twitter versus à la TV seulement, sur les critères d’émotion, de proximité, de considération d’achat et de recommandation, ainsi que sur les valeurs de la marque : innovante (x2,3), fun (x2,6), enthousiasmante (x3,5), audacieuse (x2,8), tendance (x2,2), à l’écoute (x2,8), de confiance (x1,8).

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Ainsi, lors du dispositif TV/Twitter d’EDF mis en place par Havas Media pour le match de football France-Espagne le 4 septembre (voir archive), 69% des personnes exposées à Twitter+TV ont trouvé la marque innovante, vs 38% des exposés TV seulement, et 60% se sont senties proches de la marque, vs 37% des exposés TV seulement.
A partir d’une étude réalisée auprès de 1 007 utilisateurs (30 derniers jours) de Twitter, âgés de 18 ans et plus, quatre profils de comportements ont été dégagés : les @adict (10%) qui ne peuvent pas se passer de Twitter devant la TV ; les @core (24%) gros consommateurs de la TV et de Twitter ; les @casual (39%) qui ont besoin de valeur ajoutée pour utiliser le réseau devant la TV ; et les @distant (27%) qui n’utilisent pas le réseau social devant leur poste.

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Parmi les personnes utilisant Twitter devant la TV, 72% déclarent chercher du contenu additionnel en lien avec le programme qu’ils regardent et 66% vont chercher des contenus exclusifs. Pour 2 personnes sur 3, Twitter permet de voir s’il y a un programme «dont tout le monde parle» et 1 sur 3 choisit de regarder un programme s’il est très discuté sur Twitter.
Une personne sur deux retweete des marques parce qu’elle aime le contenu, deux sur cinq pour participer à des jeux concours et une sur trois pour bénéficier d’offres exclusives.
Autre résultat de l’étude, à prendre en compte pour les marques qui veulent engager leur audience : les deux éléments qui apportent le plus de valeur dans un tweet sont, pour les personnes sondées, l’humour et le fait d’apprendre quelque chose de nouveau.

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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.

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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.

 

Methodology

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.

Manchester City digital companion: Live video channels, stats, second scree, vine and more

On en a maintenant l’habitude, Manchester City est un des clubs les plus actifs en terme de dispositifs digitaux. Et leur nouvelle application en témoigne encore une fois.

Le club Mancunien est le premier à lancer une application second screen pour suivre les matchs en direct. L’application propose des stats en temps réel, des vidéos ainsi que du contenu sur les coulisses des matches.

Comme l’indique le club, l’application Match day commence des le réveil, le match dure 90 minutes mais un jour de match, c’est bien plus que ces 90 minutes.

Ainsi avec cette appli, le club propose a ses fans de passer la journée entière à préparer le match du soir. Les spectateurs qui utiliseront l’app dans l’enceinte du stade se verront également privilégiés car ils pourront accéder a du contenu vidéo additionnel non accessible de chez soi.

Enfin, l’appli permettra de favoriser les échanges entre fans puisqu’elle donnera la possibilité à tous de partager photos, tweets ou autres vines…

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.

 

Children are ditching TV in favour of the iPad to watch shows | Daily Mail Online

Children are ditching TV in favour of the iPad to watch shows | Daily Mail Online.

  • Six in ten children use a tablet at home – a 50 per cent increase on 2013 
  • Meanwhile, televisions in their rooms have fallen by a third in five years
  • 11 per cent of children aged three and four now have their own tablet
  • Fewer children also have games consoles in rooms as tablets take over
  • Study on UK children was carried out by London-based regulator, Ofcom

Tablets are now more important to children than their TVs, with more than one-third of young people aged five to 15 owning their own device. Around 34 per cent of children in this category own their own tablet, which is up from 19 per cent last year, according to official figures.  And six in ten children use a tablet at home – a 50 per cent increase on 2013 – while the number of children with televisions in their rooms has fallen by a third in five years.

The rapid increase means that some preschoolers are using a tablet to surf the web, play games and watch video clips.

The report by UK regulator Ofcom found that 11 per cent of children aged three and four have their own tablet, up from three per cent last year.

The number of five to 15-year-olds who use a tablet to go online has doubled to 42 per cent since last year, while the proportion of children using the internet via a PC or laptop fell for the first time, by three per cent, to 88 per cent.

As well as replacing TVs, fewer children also have games consoles in their bedrooms as tablets take over the role.

The number who have radios in the bedroom has halved from 32 per cent in 2009.

Meanwhile, 20 per cent of children are watching TV on a tablet 33 per cent watch on-demand TV.

The report also revealed that girls prefer more ‘sociable’ media, sending more texts and making more mobile calls than boys, during a typical week

Almost half of older girls claim that a mobile phone is the device they would most miss, compared to 29 per cent of older boys.

But girls and boys aged 12 to 15 are equally active on social media, with 71 per cent having a profile.

That said, girls are more likely to use Instagram, Snapchat and Tumblr.

Just one social media site – YouTube – attracts more boys, who are nearly twice as likely as girls aged 12 to 15 to use it.

Ofcom said nine in 10 parents whose children go online were taking steps to help their children manage risks when using the internet.

The most popular methods included supervising their children online, talking to children about managing online risks and having rules in place about use of the internet.

Separate research earlier this week found that the iPad has now overtaken household names such as McDonalds and Disney to become the number one brand among American 6 and 12-year-olds.

The annual study, conducted by research firm Smarty Pants, ranks more than 250 brands each year.

‘iPad’s number one status among kids represents the culmination of the ‘tablet takeover’ – a movement from shared screens and TV network dominance to curated content on personal devices,’ said Wynne Tyree, president of Smarty Pants.

‘Kids increasingly turn to iPad for games, TV shows, videos, books, homework help and communicating with friends and family.’ 


Read more: http://www.dailymail.co.uk/sciencetech/article-2786712/Children-ditching-TV-favour-iPad-One-three-15s-use-OWN-tablet-watch-shows.html#ixzz3FoJsj3cc
Follow us: @MailOnline on Twitter | DailyMail on Facebook

1 Français sur 2 regarde des directs sur Internet (73% des 18-24 ans et 68% des 15-17 ans)

Internet: 1 Français sur 2 regarde des directs.

Près d’un Français sur deux (47%) a déjà regardé une vidéo diffusée en direct sur internet, les jeunes étant les plus grands consommateurs de ces vidéos “live”, indique une étude de l’institut CSA pour Dailymotion publiée aujourd’hui.

Signe d’un phénomène générationnel, ce chiffre, qui s’élève à 68% pour les 15-17 ans et à 73% pour les 18-24 ans, tombe à 25% pour les 65 ans et plus. Près de la moitié des internautes qui regardent des directs ont regardé des évènements sportifs (49%), suivis par les évènements musicaux (38%). Viennent ensuite les spectacles humoristiques (29%) et les évènements politiques (24%). Une majorité des hommes préfèrent le sport (59%) quand les femmes ont une prédilection pour les évènements musicaux (45%). Quant à la politique, elle séduit les retraités (50%), qui aiment aussi les spectacles humoristiques (40%).

Dans 80% des cas, les internautes regardent ces directs sur leur ordinateur. Seuls 13% les visionnent sur une tablette, et 7% sur leur smartphone. “Vivre un évènement comme si on y était” (50%) et “être au courant de ce qui se passe avant les autres” (30%) sont les principales raisons invoquées par les adeptes du live. Pour doper son audience, Yahoo! a ainsi lancé en juillet un service de concerts “live” en flux (streaming), en réponse à la plateforme YouTube. Depuis 2010, le groupe français Dailymotion diffuse lui aussi des évènements sportifs, politiques ou musicaux en live, comme lors de la dernière campagne présidentielle.

“A contenu équivalent, les Français demeurent attachés à la télévision”, note toutefois l’étude. 54% des sondés disent préférer une vidéo live à la télévision contre 17% sur internet, tandis que 29% n’y voient aucune différence.

Le sondage, mené du 8 au 10 septembre 2014 sur internet, a été réalisé auprès de 1.060 personnes de 15 ans et plus selon la méthode des quotas.

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