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.

NBCTodayOrangeRoom650

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
http://lostremote.com/social-tv-year-in-review-telescope-ceo-jason-george_b48025

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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.

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.

The Value of Social TV: Reaching the Niche » Knowledge@Wharton

The Value of Social TV: Reaching the Niche » Knowledge@Wharton.


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As social media grows more popular, it’s increasingly becoming a way for industries, companies and brands to figure out what the cultural zeitgeist is thinking — and from there, to recommend other things consumers might like.

Wharton operations and information management professor Shawndra Hillhas extensively studied how social TV — i.e., people contributing or consuming commentary about their favorite programs — can be used by Hollywood and advertisers to better reach their target demographics. In this interview, she discusses her method and findings, and also responds to a recent announcement by Nielsen that it will now include demographic information as part of its Twitter TV ratings service. That service offers data that gauge which shows are generating the most chatter on the social network.

An edited transcript of the conversation appears below.

Knowledge@Wharton: Many people today tweet to provide commentary as they are watching TV shows. Why is this important to the media industry — as part of figuring out how many people are actually watching a show — and to advertisers?

Shawndra Hill: There are a number of reasons why it is interesting and also important. The first one is that TVshows can observe, in real time, immediate response and engagement to the content in the show. That can include organic response to [what is happening in the plot], or TV shows actually incorporating social media content into the shows, and asking people to, for example, vote while watching TV. But then in addition to looking at real-time engagement, one could also look at the viewers and estimate things like demographics and interest, and get a sense for who is actually watching the TV show.

Knowledge@Wharton: The Nielsen company has just announced that it will start providing demographic data as part of its Twitter TV ratings product, which looks at which U.S. TV shows have the largest audience on Twitter. Why is this notable?

Hill: We [Hill’s research team] have been estimating demographics from tweets for quite a long time, as the tweets relate to television viewers and television content. So, while it’s notable in that it’s an added service for Nielsen customers, it’s something that can actually be done with publicly available data for free. What’s nice about it is that if you have a methodology to infer demographics of groups or individuals, you can do so for a really large number of people and Twitter handles. Twitter handles represent shows and brands. And so, what’s nice about the ability to actually infer demographics is that you can do so for a wide range of Twitter handles, more so than the popular television shows that Nielsen typically follows.

Knowledge@Wharton: Can you tell us a little bit more about your approach and how it differs from what Nielsen has announced that it’s going to do?

Hill: Our approach works in the following way: We start with Twitter handles. Usually we focus on television shows and brands. But the Twitter handles can represent anyone. For example, I could use the Twitter handle of my [personal] account. From the Twitter handles, we grab [each person’s] followers. For those followers, we grab their tweets. And so, each Twitter handle is represented by all of the tweets of all of the followers. You can think of this as, for a particular show we have all the follower tweets — not just tweets about the show, but tweets about their daily lives.

Once we have this document of all of the tweets of the followers of a particular handle, then we basically create what’s called a bag of words. Think of it as just creating one big vector of words and the associated counts with them.

We then correlate the counts; we normalize the counts in a special way. But we correlate the counts on these words with aggregate-level demographics of the shows. We get that data in an interesting way — from Facebook, through the Facebook advertising API, which allows us to get estimates of the aggregate level of proportions of people who follow a particular thing. It could be a television show like I mentioned, or a brand or a person. Then we correlate the proportion of people who follow a brand or television show or person with these words [from the collected tweets], and find the words that are correlated with different proportions of demographics. Examples of those demographics that we’ve looked at are gender, age and education level. But then in addition to that, Facebook also allows you to target different interests. So, we could even look at estimates of the population for people who like gardening, for example, or cooking.

Even at this aggregate level where we take the words associated with the people who follow the shows, and these aggregate-level demographics, we can do a really good job — when we build models to correlate the words and the demographics — of predicting the demographics of held-out groups of people. Why this is so powerful is that you don’t have to restrict yourself to just popular things that perhaps a company like Nielsen would typically have estimates for, reliable estimates. You can make estimates for just about anything that has a group of people who talk about their daily lives….

Knowledge@Wharton: You have something that you call the talkographic profile. Can you explain exactly what that is, and how it works?

Hill: We’ve just coined this term to basically mean that people are what they say. Groups and individuals … use specific language on Twitter and on social media…. The words that people use are highly indicative of both their demographics and interests.

Knowledge@Wharton: The Nielsen service offers demographic data to the industry, but your approach takes it one step further and actually makes recommendations based on the data. How do you do that, and why is it different than traditional recommendation systems?

Hill: We have built a recommendation engine on top of what we call these profiles for shows. We wanted to show that these profiles actually had value. What we do is simply calculate the similarity between shows — or really, Twitter handles — based on the words that people who follow the shows [use]. In doing so, we can calculate the similarity between anything, any Twitter handle. And when we have a new set of users, we can then feed one of the shows or Twitter handles that the user follows into our big correlation matrix of items, or shows, and ask, based on the similarity between this item that we give our system and all of the calculations that we’ve done, what are the things that the user would be most likely to follow? We find that calculating the similarity between shows in this way, just by using the words, is highly predictive [of] what people will follow.

The nice thing about this is, while there are a lot of strategies for building recommendation engines — for example, using the product network or the network of Twitter handles that form by looking at Twitter handles that are commonly followed by a lot of people — using the text means that you don’t need those networks. So, while Twitter has a large network of users, there are a lot of websites that don’t. [What we’re] saying is that perhaps tweets or texts can be used as a substitute for this network data when it’s not there. And when it is there, it can be used to complement it. In addition to showing the value there, it also helps with what’s called a cold start problem for recommendation engines.

Knowledge@Wharton: What exactly is that?

Hill: This problem is, when you have an item or a product — or in the case of TV as we’re talking about now, a show — that doesn’t really have that many followers, then you’re not going to recommend it, right? It’s quicker to get these tweets. You only need a few followers to start calculating the similarity between the Twitter handles, and the [show or product] will be more likely to be recommended sooner. It also tends towards making more diverse recommendations, as opposed to making more popular recommendations….

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Knowledge@Wharton: Can you give me an example of a specific instance where you’ve been able to make some recommendations using your recommendation engine, and what the results were?

Hill: We test this on Twitter users, so we’re assuming that the things that Twitter users follow are representative of the things that they’re interested in. We basically build our models on one subset of users, and then make predictions on a hold-out set of users. We’ve done this in the context of television shows, reliably. And then we’ve also done this in the context of brands.

We’ve focused mostly on television shows and brands…. Our approach is generalizable [because] we take all of the words that people say, without restricting them in any way. What that means is, we can calculate the similarity between any two things. Not just television shows, not just brands. And so it makes the approach very flexible.

Knowledge@Wharton: Could a company or a brand use your approach in-house? And if so, how would they go about it?

Hill: Absolutely. What’s nice about the approach that we’ve developed is it relies strictly on publicly available data, which means the data is free. We’ve tested our approach on Twitter users who have revealed their preferences by following [certain people or entities]. There would still be this extra step needed for a firm to test it in their particular context. But if they are trying to just infer the demographics of Twitter users, then it would work that way. But if they wanted to use the approach for making recommendations in their context, they would have to test it against their own users.

Knowledge@Wharton: A TechCrunch story about Nielsen’s new offering says that the company has found that while there are a significant number of people tweeting about TV, an even larger number are passively consuming that content. Sometimes, those consumers shed new light on what type of demographic groups watch a particular show. Have you seen that in your research? Why is it so important to tease out passive observers along with people who are actively creating content?

Hill: We haven’t focused on that distinction, mostly because we decide that somebody is interested in a show based on the fact that they follow that show, not based on the fact that they’re tweeting about it. All of the users that follow a show would be included in our data set, both those who actively tweet and those who don’t.

We could easily compare them. My guess is that they’re not extremely different. Perhaps they are. But we could compare them pretty easily. The nice thing about that would be, if there are in fact differences, then it would provide insights to a company. But we’ve focused mostly on, of the people who follow your brand or TV show, can we infer the overall demographics? But it would be easy, because our approach infers information for groups of users, to infer the demographics of the subset of people who tweet and the subset of people [who merely observe], for a particular show.

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Knowledge@Wharton: People inside and outside the media industry have complained for years that the traditional system of Nielsen ratings doesn’t accurately count how many people are actually watching TV shows. What are the stakes here, and why is doing that so important? How can social media be a game-changer in this?

Hill: [Social media] enables us to watch a larger number of viewers for free, and therefore make inferences about a larger number of users and TV shows for free. Most of the criticism of Nielsen data — there are many — but one of the main ones is that there is not a lot of coverage for niche shows, or shows that aren’t that popular. Because the way that historically Nielsen has collected data is based on a relatively small panel of users who have a device in their home to track their viewing patterns. What social media does is it opens up the space of users to pretty much anybody who is tweeting. And so, you’re not restricted, then, to infer only the demographics of popular shows, because there will be coverage for all shows and all things on Twitter.

Now, I say that with the main caveat that not everybody’s on Twitter, right? There’s going to be a bias, of course, if you use only the social media data. While you can make inferences for a larger number of shows, you’re going to be biased, and you’ll have to correct for that bias, for the fact that not everybody is on Twitter and that it skews younger. And that has to be accounted for. But the promise is that you can make inferences cheaper, faster, for more people and for more shows.

Knowledge@Wharton: Any last comments? Would you like to say anything about a question that I should have asked, but I haven’t?

Hill: I think maybe just talking about the future and predicting what all this means for the TV industry. It’s nice to see Nielsen and other companies beginning to combine different types of data to make more comprehensive pictures of their viewing audience. But what would be nice to see from companies like Nielsen are partnerships with data — having partnerships with people who have different types of data that the masses couldn’t otherwise get.

So, with Twitter, inferring demographics is something that we do. It’s something that a lot of researchers now are starting to do for various reasons. That’s kind of easy. What would be nice to see would be — and perhaps customers wouldn’t want this — to see them do things like partner with credit card companies, and partner with companies for which it has typically been really difficult to get that data, and then see what insights can be drawn about TV viewers by combining data from disparate sources that aren’t easy to get.

42% of 16-to-24-year-old internet users said they simultaneously used social media as they viewed television – eMarketer

Social and TV Still Separate Activities for Young UK Consumers – eMarketer.

eMarketer expects 5.3 million 18- to 24-year-olds to use a social network site via any device at least once per month this year, representing 94.0% of internet users in that age demographic. But while social may be near universal among the group, young UK internet users aren’t channel surfing and social sharing at the same time.

A February 2014 poll by YouGov found that social media usage while watching TV was still a minority activity among older teens and early 20-somethings in the UK. Just 42% of 16-to-24-year-old internet users said they simultaneously used social media as they viewed television. Though this was well ahead of the 27% total and the percentages for older age groups, it still indicated that social TV hadn’t caught on with the majority of young UK consumers.

Looking specifically at Twitter, whose real-time atmosphere may encourage tweeting while viewing, a September 2013 study by Harris Interactive UK found similar results. Nearly two-thirds of UK 16- to 24-year-olds who used Twitter said they never live tweeted about TV programs, and more than half of 11- to 15-year-olds said the same. Such results could also indicate that even if young UK Twitter users use the social network during TV time, they may not necessarily be actively participating on the platform.

Social Rating Point (SRP) by Havas Media Brussels : 3 times short-listed of finalists for its 2014 Research Awards

IAB Europe.

Brussels – 9 May 2014: IAB Europe is delighted to announce the shortlist of finalists for its 2014 Research Awards, sponsored by comScore. Winners of the eight categories will be announced at IAB Europe’s Interact conference in Paris on 20th May (www.interactcongress.eu).

Nick Hiddleston, Worldwide Research Director, ZenithOptimedia and Chairman of the Jury says, “The IAB Europe Research Awards enable the celebration of innovation and best-practice in digital research across Europe. I am delighted to chair the Jury again and applaud the consistent rise in quality of entries which we see each year as the popularity and recognition of the IAB Europe Research Awards grows.”

The Jury consists of three European corporate representatives and two IAB representatives, one from CEE, making it representative of the European market place. Nick Niddleston, Chairman of the Jury, is joined by Bernd Vehlow, Head of Market Research at United Internet Media, Paul Hardcastle, Director, International Consumer Research at Yahoo!, Pawel Kolenda, Market Research Manager at IAB Poland and Nathalie La Verge, Managing Director at IAB Netherlands. The Jury has drawn up the following shortlist and will meet to judge the shortlisted entries.

The 2014 shortlisted entries are:

Category: Branding

BVDW (IAB Germany) The power of creation
Sticky Google and Samsung uses Sticky to verify impact of tablet
ITV Ad Sync – Researching the impact of connected advertising
Yahoo! France Yahoo Consumer Connect & Coca Cola: Proving digital advertising’s impact on offline sales
BBC Affluent Connection


Category: Ad Effectiveness

BVDW (IAB Germany) The power of creation
ITV Ad Sync – Researching the impact of connected advertising
Axel Springer Media Impact AUTO BILD tablet study 2014 – a cross-media comparison of ad effectiveness
Yahoo! Italy Multi-screen (Mobile + PC) Ad Effectiveness study of Brand Content Campaign for Chebanca! on Yahoo
Yahoo! France Yahoo Consumer Connect & Coca Cola: Proving digital advertising’s impact on offline sales


Category: Consumer Attitudes and Behaviour

Microsoft UK Families Research. A study from Microsoft and Sparkler.
Yahoo! UK Mediasenses 
United Internet Media “Catch Me If You Can!” – Fundamental Study on Usage of Multiple Screens and the Implications for Media Planning, Creation and Ad Effectiveness
IAB UK IAB RealView – how consumers use connected devices and what advertisers can learn from this
Millward Brown AdReaction: Marketing in a multiscreen world


Category: Mobile Internet

Sticky Google and Samsung uses Sticky to verify impact of tablet
IAB UK IAB RealView – how consumers use connected devices and what advertisers can learn from this
Nugg.ad Mobile Vs. Desktop Web Usage: Which Content Attracts Users On Different Devices?
BBC Affluent Connection
Yahoo! UK Mediasenses


Category: Social Media

ITV ITV Lives – A view from every angle
Facebook and Vizeum UK Measuring advertising’s impact on store traffic using mobile geolocation data
Havas Media Brussels SRP Study by Havas Media Brussels The perfect match between TV & Social Media
LinkedIn and Millward Brown Digital The Mindset Divide: Spotlight on Content
Replise Hungary Kft. Vodafone Firsts in Social Media


Category: Multi-Screen

IAB UK IAB RealView – how consumers use connected devices and what advertisers can learn from this
Havas Media Brussels SRP Study by Havas Media Brussels The perfect match between TV & Social Media
ITV Ad Sync – Researching the impact of connected advertising
Nugg.ad and Vivaki X-Cross: Bridging the Multiscreen Gap between TV & Online
Yahoo! Italy Multi-screen (Mobile + PC) Ad Effectiveness study of Brand Content Campaign for Chebanca! on Yahoo


Category: Audience Measurement

comScore Determing Publisher’s Global Multi-Platform Audience
Microsoft UK Families Research. A study from Microsoft and Sparkler.
MeMo² & Blue Mango Interactive Who is listening? Increase National Reach with Online Radio!
Havas Media Brussels SRP Study by Havas Media Brussels The perfect match between TV & Social Media
Yahoo! France Yahoo Consumer Connect & Coca Cola: Proving digital advertising’s impact on offline sales

Category: Best Use of Research Budget

IAB Poland Privacy in network
AOL UK The Native Age – thought leadership on the emerging trend of native advertising
Microsoft UK Families Research. A study from Microsoft and Sparkler.
Facebook and Vizeum UK Measuring advertising’s impact on store traffic using mobile geolocation data
BVDW (IAB Germany) The power of creation


Alison Fennah, Senior Business Advisor, IAB Europe says “This is the fourth edition of the IAB Europe Research Awards with yet another record number of entries. We look forward to celebrating with the winners in Paris on 20th May.”

Stuart Wilkinson, Head of Industry Relations EMEA, comScore, says – “We are delighted to see the momentum of the IAB Europe Research Awards continue apace in their fourth year, and to support and celebrate with our peers excellence in our industry.”

ENDS

For more information please contact:

Marie-Clare Puffett, Research & Marketing Coordinator – researchawards@iabeurope.eu

Note to editors:

About the IAB Europe Research Awards


The IAB Europe Research Awards are an opportunity for the digital marketing industry to recognise and celebrate the contribution made to the development of the industry by innovative research projects and the teams behind them.
Winning projects will become part of the IAB Europe expanding library of proof points for industry professionals to use in their strategies and daily work.

Each project can be entered for up to three relevant categories in the following list:

1. Branding – Projects that demonstrate the value of digital media to awareness or perception of a brand
2. Ad Effectiveness – How to use digital advertising to its best advantage
3. Consumer Attitudes and Behaviour – Shedding light on consumer media consumption, their views on digital media and what this means for the advertiser
4. Mobile Internet – Any advertising research project that includes results specific to mobile internet use 
5. Social Media – Any advertising research project that includes results on specific social media campaigns
6. Multi-Screen – Research projects that include consumer use of multiple screens
7. Audience Measurement – Projects that have brought a significant development in measurement of the digital audience; this might be within a market or apply to a specific audience group
8. Best Use of Research Budget – Projects that have made use of a specified budget for a piece of research

More information about the judging panel: http://interactcongress.eu/articles/319/Research-Awards-Jury-2014.html

About IAB Europe

IAB Europe is the voice of digital business. Its mission is to protect, prove, promote and professionalise Europe’s online advertising, media, market research and analytics industries. Together with its members – companies and national trade associations – IAB Europe represents over 5,500 organisations. 

The member countries are: Austria, Belgium, Bulgaria, Croatia, Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Netherlands, Norway, Poland, Romania, Russia, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey and United Kingdom. The corporate members include: AB Inbev, Adconion Media Group, AdRoll, ADTECH, affilinet, AGOF Services, AOL Advertising Europe, AppNexus, AudienceScience, BBC Advertising, CNN, CoAdvertise, comScore Europe, Creafi Online Media, Criteo, Deutsche Post, eBay International Advertising, Emediate, Evidon, Expedia Inc, Exponential, Fox Interactive Media, Gemius, Goldbach Group, Google, GroupM, Hi-Media, Improve Digital, IPG Mediabrands, Koan, Meetic, Microsoft Europe, Millward Brown, News Corporation, Nielsen Online, nugg.ad, OMD, Orange Advertising Network, Performics, PHD, Prisa, Proxistore, Publicitas Europe, Publigroupe, Quisma, RetailMeNot, Sanoma Digital, Selligent, The Exchange Lab, Triton Digital, TrustE, United Internet Media, Viacom International Media Networks, White & Case, Yahoo!, Yandex and Zanox.

http://www.iabeurope.eu

Social has made TV cool again

Is The Future Of Television Social?.

Today at the Brand Innovators’ Future of Television conference in New York, social media expert Ted Rubin will be sharing his perspective on the symbiotic relationship between TV and social media. In advance of his remarks I had a conversation with Rubin on his thoughts about why the two subjects are intertwined.

According to Rubin, TV won’t be going away anytime soon. “I think social people were talking about how social was going to kill TV. I think social has revived TV. I think social has made TV cool again, and it will continue to do so because of all the sharing that’s going on. TV has suddenly become interactive in many ways. You’re not a loser anymore staying home watching TV by yourself because you’re not at home by yourself anymore. For example, men tend to communicate a little bit more via social media during sports, and I think that social is enhancing sports viewing via TV to a tremendous degree.”

Ted Rubin

“Reality shows have done a tremendous job because it’s such an opinionated and a sharable experience versus watching a [scripted] TV show. Reality TV lends itself so perfectly to social because it’s about people. Most [reality shows] tend to be competitions. They’ve done a tremendous job integrating social.  We’re just scratching the surface because the technologies have to start connecting with each other. I also think that companies are getting used to allowing these conversations to go on around their brands. Not [only] do they allow it, but they are encouraging it and empowering it.”