Forget the 'A' Spot, You Should Be Asking for the Last One
IAG Study Finds DVR Users Recall Final Ad in a Pod Best
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By Brian Steinberg Published: June 06, 2007 NEW YORK (AdAge.com) -- As more consumers start to use digital video recorders, the last ad in the commercial break could stand as a last refuge for worried advertisers.
. A new study from IAG Research, a New York firm that measures viewers' responses to TV ads and product placements, found that people who use DVRs have one-third less general recall of commercials than people who watch the ads on live TV. Additionally, the study says, recall rates of ads viewed by DVR users are highest for those that air at the end of a commercial break. The reason: Viewers who zap through ads "find it easy to isolate the point at which to start fast forwarding through the ads but have a hard time estimating when to stop," the study found. Profound effects on TV viewing The findings illustrate the wholesale change DVR usage is expected to force upon the business of TV. DVRs have only reached about 17% of U.S. households, according to Nielsen Media Research, but its effects on how people watch TV are profound. Consumers can watch programs hours or days later, at a time of their choosing, and can skip through ads with the push of a button. The number of DVR subscribers is expected to reach 39.7 million by the end of 2011, or 34% of all U.S. TV households, estimates Interpublic Group of Cos.' Magna Global, up from 18.7 million, or 16.9%, at the end of 2006. Already, a Nielsen study of the 2006-07 TV season finds that nearly all the viewing declines in live TV for the period "can be attributed to the increase in DVR use." And that's with 97% of prime-time viewing still occurring live. There are lots of reasons for advertisers to tremble. For one, even the broadcast networks believe about 60% of DVR users fast-forward right through the ads. For another, some folks use DVRs to watch programs days later, when a commercial slated to air at a specific time and day may no longer be effective. Advertisers have long believed that the first ad in a commercial break, or "pod," was the one that gained the most notice. But with DVR use on the rise, some media buyers are beginning to believe otherwise. The first ad takes place "exactly when the break starts, when you know you have a minute to leave" the program, says Alan Cohen, a managing director at Interpublic's Initiative. The last ad is "where you have to pay the most attention" to figure out when to stop skipping, he said. Sprinkling spots across pods Securing this piece of advertising real estate won't be easy -- at least initially. Buying commercial time on networks has long been a game of sprinkling many ads across multiple breaks and programs, not figuring out a single, specific point for an ad to run. Because first and last commercial pod positions have been thought to be the most recalled overall, networks often parcel them out in equal fashion to as many clients as possible. Allowing a specific advertiser to snatch up a first or last position in a pod would give an advantage over other marketers in the same ad break, and would likely give rise to marketers' grousing. Networks have resisted the idea in the past. Initiative, for instance, was able to run a five-second commercial for Time Warner's AOL at the end of ad breaks on News Corp.'s Fox in late 2005, but it came only after several other broadcast networks rebuffed the idea, said Mr. Cohen. "It's a lot of work to do it," Mr. Cohen added, but Fox agreed to "experiment." Dramas get DVRed the most The IAG study also found that viewers of programming that has a more serialized format, such as dramas, are more likely to watch with a DVR. As a result, perhaps, DVR viewers' recall of ads in dramas is somewhat lower than ads in other programming genres. In another finding that could prompt debate, IAG's study said that ads with more "creative" flair tend to be better recalled by DVR viewers. This echoes a sentiment being put forth by a number of broadcast-network executives, who maintain that while they have a responsibility to find ways to make sure viewers stick around to watch commercials, advertisers share part of the burden and must raise the quality and attractiveness of their ads.
quarta-feira, 6 de junho de 2007
terça-feira, 5 de junho de 2007
,Rádio digital
Para emissoras, rádio digital é esperança e desafio 31/5/2007 14:53:00
Nerone Simioli é diretor de uma rádio FM em Ariquemes, município de 85 mil habitantes que fica no centro de Rondônia, situado numa região rica em cacau e forte na extração de borracha. Ela tem programação própria, mesclando música e jornalismo, e sua receita com publicidade é de, no máximo, R$ 55 mil por mês. Depois de pagar os 15 funcionários e os demais custos de operação, não sobra muito.Simioli anda preocupado com a digitalização do rádio. Diferentemente do que acontece com a televisão, que iniciará em dezembro suas transmissões digitais em São Paulo, o rádio é um meio de comunicação descentralizado e com imensa programação local. Os equipamentos necessários para entrar na era digital custam menos, mas as empresas também têm faturamento menor. Quando escolher o sistema a ser adotado no Brasil - os padrões existentes são o americano IBOC, o europeu DRM, o japonês ISDB e o coreano DMB -, o governo dará um prazo para a transição de tecnologias, que pode chegar a dez anos. Mas os questionamentos são imediatos. "Na região Norte, não vejo isso como viável", diz Simioli, da Rádio Planície de Ariquemes. Seus cálculos preliminares indicam a necessidade de investir algo como R$ 300 mil para adquirir modulares digitais. E ele questiona se a atratividade do rádio digital, que dará qualidade de CD ao som de FM, conseguirá driblar a barreira da baixa renda de seus ouvintes. "A maioria do meu público é um pessoal do campo, da fazenda. Quem tem dinheiro para comprar um receptor de R$ 700?", pergunta Simioli, confiando na escala de produção para baratear os aparelhos.O temor do rondoniense é a esperança de muitos. Para Daniel Pimentel Slaviero, presidente da Associação Brasileira de Emissoras de Rádio e Televisão (Abert), a digitalização do rádio "não é uma questão de vaidade, mas de sobrevivência" para enfrentar a concorrência de tecnologias cada vez mais atrativas, principalmente para o público jovem, como os iPods. "O rádio precisa fazer essa transição para competir, em igualdade de condições, com todos os players que já estão em ambiente digital", disse o presidente da Abert, ontem, no 24º Congresso Brasileiro da Radiodifusão.Slaviero defendeu novamente a adoção, no país, do sistema digital IBOC (americano). "É o único que atende às características do Brasil, operando em AM e FM na mesma banda e na mesma freqüência", justificou. Atualmente, nenhum país latino-americano oficializou a escolha de seu padrão de rádio, embora o México esteja bastante adiantado no uso do IBOC, informou Slaviero. Fonte: Valor Econômico
Nerone Simioli é diretor de uma rádio FM em Ariquemes, município de 85 mil habitantes que fica no centro de Rondônia, situado numa região rica em cacau e forte na extração de borracha. Ela tem programação própria, mesclando música e jornalismo, e sua receita com publicidade é de, no máximo, R$ 55 mil por mês. Depois de pagar os 15 funcionários e os demais custos de operação, não sobra muito.Simioli anda preocupado com a digitalização do rádio. Diferentemente do que acontece com a televisão, que iniciará em dezembro suas transmissões digitais em São Paulo, o rádio é um meio de comunicação descentralizado e com imensa programação local. Os equipamentos necessários para entrar na era digital custam menos, mas as empresas também têm faturamento menor. Quando escolher o sistema a ser adotado no Brasil - os padrões existentes são o americano IBOC, o europeu DRM, o japonês ISDB e o coreano DMB -, o governo dará um prazo para a transição de tecnologias, que pode chegar a dez anos. Mas os questionamentos são imediatos. "Na região Norte, não vejo isso como viável", diz Simioli, da Rádio Planície de Ariquemes. Seus cálculos preliminares indicam a necessidade de investir algo como R$ 300 mil para adquirir modulares digitais. E ele questiona se a atratividade do rádio digital, que dará qualidade de CD ao som de FM, conseguirá driblar a barreira da baixa renda de seus ouvintes. "A maioria do meu público é um pessoal do campo, da fazenda. Quem tem dinheiro para comprar um receptor de R$ 700?", pergunta Simioli, confiando na escala de produção para baratear os aparelhos.O temor do rondoniense é a esperança de muitos. Para Daniel Pimentel Slaviero, presidente da Associação Brasileira de Emissoras de Rádio e Televisão (Abert), a digitalização do rádio "não é uma questão de vaidade, mas de sobrevivência" para enfrentar a concorrência de tecnologias cada vez mais atrativas, principalmente para o público jovem, como os iPods. "O rádio precisa fazer essa transição para competir, em igualdade de condições, com todos os players que já estão em ambiente digital", disse o presidente da Abert, ontem, no 24º Congresso Brasileiro da Radiodifusão.Slaviero defendeu novamente a adoção, no país, do sistema digital IBOC (americano). "É o único que atende às características do Brasil, operando em AM e FM na mesma banda e na mesma freqüência", justificou. Atualmente, nenhum país latino-americano oficializou a escolha de seu padrão de rádio, embora o México esteja bastante adiantado no uso do IBOC, informou Slaviero. Fonte: Valor Econômico
Ideal e Fiz TV com novos formatos
Novo canal da Abril terá 70% de produção nacional 1/6/2007 09:42:00
Maria Tereza Gomes, diretora do canal Ideal, da Abril, apresentou o novo canal aos produtores presentes ao 8º Fórum Brasil - Mercado Internacional de Televisão e adiantou que a grade de programação deve ter 70% de produção nacional. "Vamos trabalhar com séries, documentários, sitcoms, games e dramaturgia." O Idela deve estrear em 12 de setembro, e será voltado para jovens executivos e empresários. Segundo Maria Tereza Gomes, o canal trará informações sobre gestão, carreira e bem-estar, para um público que ela chamou de Geração Y. "São os filhos da Geração X, pessoas questionadoras que não aceitam as regras das grandes empresas, estão abolindo a gravata e não tiram seus iPods", afirmou. "Vamos falar tanto para esses novos profissionais, que hoje têm cerca de 30 anos, como para quem contrata essas pessoas."O canal será lançado após o Fiz, que levará ao ar produções feitas pela própria audiência, e enviadas via Internet. Serão vídeos amadores e semiprofissionais, que acompanham a onda da web 2.0. Fonte: Tela Viva News
Maria Tereza Gomes, diretora do canal Ideal, da Abril, apresentou o novo canal aos produtores presentes ao 8º Fórum Brasil - Mercado Internacional de Televisão e adiantou que a grade de programação deve ter 70% de produção nacional. "Vamos trabalhar com séries, documentários, sitcoms, games e dramaturgia." O Idela deve estrear em 12 de setembro, e será voltado para jovens executivos e empresários. Segundo Maria Tereza Gomes, o canal trará informações sobre gestão, carreira e bem-estar, para um público que ela chamou de Geração Y. "São os filhos da Geração X, pessoas questionadoras que não aceitam as regras das grandes empresas, estão abolindo a gravata e não tiram seus iPods", afirmou. "Vamos falar tanto para esses novos profissionais, que hoje têm cerca de 30 anos, como para quem contrata essas pessoas."O canal será lançado após o Fiz, que levará ao ar produções feitas pela própria audiência, e enviadas via Internet. Serão vídeos amadores e semiprofissionais, que acompanham a onda da web 2.0. Fonte: Tela Viva News
segunda-feira, 4 de junho de 2007
Somente entre 5% a 10% da audiência assiste os comerciais
Commercial Ratings? Nets Talk TiVo Instead
Metric Makes Debut, but Sellers Force Negotiations Back to DVR Viewership
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By Brian Steinberg and Andrew Hampp Published: June 04, 2007 NEW YORK (AdAge.com) -- Nielsen finally released its long-deliberated, much-anticipated commercial-ratings data last week, confirming in hard data what everyone instinctively knew: that around 5% to 10% fewer people watch the commercials than the shows in which they appear. But the TV networks didn't want to talk about viewers taking toilet breaks; they wanted to talk TiVo.
The networks are pushing for the upfront to include DVR viewers, hoping to bank a figure at least on par with last year's upfront take, estimated between $8.75 billion and $9 billion. Even though Nielsen noted that most prime-time viewing still occurs live (97% of it, to be precise), the TV networks were determined to focus the conversation on people who record programs and watch them (and sometimes the ads in them) at a later date. Marketers and their media buyers, who were expecting to discuss how many viewers disappeared during ad breaks, instead found themselves back where they were during the last upfront -- debating the value of live viewers vs. the DVR crowd. Not-so-grand bargainIn exchange for letting Madison Avenue have its commercial ratings -- and therefore negotiate on the basis of a smaller audience -- networks are trying to bake in some way to regain the other audience they're losing, the time shifters. They are insisting they get paid for that sliver of DVR-enabled viewers who stick around to watch the ads as well as the programs after they originally air. That will stick in the craw of many advertisers, which "really see the biggest value in those ratings that are live or close to live," said Bill Duggan, exec VP, Association of National Advertisers. "It's just such a short-term business environment these days." Until now, marketers have paid TV networks for ad time based on the popularity of shows, not viewership of the commercials themselves. Commercial ratings are a step toward changing that, allowing prices to be set by viewership of ad breaks. While the new Nielsen ratings don't track individual ads or specific time slots, they offer average viewership of all the national commercial minutes in a program. And that could be the metric upon which this year's upfront deals are struck. But the networks are pushing for it to include DVR viewers, hoping to bank a figure at least on par with last year's upfront take, estimated between $8.75 billion and $9 billion. Buyers and sellers seem to be settling on "live plus three," allowing the ratings to include viewers who watch as many as three days later. "It gives the media credit for the way in which people are and will increasingly watch TV, and that's in some sort of time-shifted mode," said Alan Wurtzel, president-research and media development for NBC Universal. Keeping viewers in seatsThe problem is that most DVR viewers zap past the ads. Those who do watch them may see them long past their expiration dates. According to Nielsen, about 17% of U.S households have DVRs, and viewers 18 to 49 watch 10% of all broadcast-network prime-time programming via DVR. Network executives estimate more than half of those viewers skip the ads altogether. Even though Nielsen data shows that audiences grow the longer the viewing window, viewership of commercials lags significantly behind viewership of programs. This brings up issues for advertisers. A number of big-spending categories need to reach consumers at a specific day and time. Package-goods marketers, for instance, often use TV ads to push products being promoted with coupons. If an ad tells people to "pick it up in this Sunday's paper," and the ad is viewed after Sunday, "that message has now been devalued," said Scott Haugenes, senior VP-group director, national broadcast, Initiative. Fast-food marketers often have tie-ins to short-lived promotions -- offers for particular sandwiches or film openings. Retailers are known for advertising sales taking place in a few days. For movie studios, advertising on network TV on Thursday night has long been a dependable way to drive audiences into theaters for Friday film openings. "For the studios, the commercial message is timely. It has to be day-specific," said Jeff Robinson, senior VP-national television, Palisades Media Group, which handles buying for a number of movie studios. More every dayWhile DVRs don't account for the majority of viewers today, "there will be more every single day," said Ed Gold, director-corporate advertising for State Farm Insurance. "We are very concerned about utilizing any playback numbers until it's proven to us that people actually watch the commercials during playback." Nielsen's data is supposed to be compiled via set-top monitors that note whether viewers change the channel during an ad break or zap through ads with a DVR. For advertisers more focused on developing image and building awareness, people who see their ads days after they air are just as welcome as those who see them live. "We are in agreement that 'live plus three' data is the appropriate metric since most time-shifted viewing occurs within that time frame and the majority of our campaigns are not day and date sensitive," said Jon Stimmel, director-media buying, Unilever USA. "DVR playback of programming is only going to increase, so altering the economic model now is imperative." Even with commercial ratings in hand, this year's upfront is expected to continue at a glacial pace, media buyers said. Once completed in a matter of days, the annual ad-sales bazaar is taking weeks as a dizzying array of new media gives big networks more competition for ad dollars. Ultimately, commercial-ratings data doesn't solve Madison Avenue's need to demonstrate to senior corporate executives that advertising helps increase sales and brand awareness. Adding DVR viewers ito the mix may muddy the waters, and both sides now must be sure those viewers are really worth the extra money. "We want to pay for what we get. What we get is someone watching a 15- or 30-second spot," said State Farm's Mr. Gold.
Metric Makes Debut, but Sellers Force Negotiations Back to DVR Viewership
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By Brian Steinberg and Andrew Hampp Published: June 04, 2007 NEW YORK (AdAge.com) -- Nielsen finally released its long-deliberated, much-anticipated commercial-ratings data last week, confirming in hard data what everyone instinctively knew: that around 5% to 10% fewer people watch the commercials than the shows in which they appear. But the TV networks didn't want to talk about viewers taking toilet breaks; they wanted to talk TiVo.
The networks are pushing for the upfront to include DVR viewers, hoping to bank a figure at least on par with last year's upfront take, estimated between $8.75 billion and $9 billion. Even though Nielsen noted that most prime-time viewing still occurs live (97% of it, to be precise), the TV networks were determined to focus the conversation on people who record programs and watch them (and sometimes the ads in them) at a later date. Marketers and their media buyers, who were expecting to discuss how many viewers disappeared during ad breaks, instead found themselves back where they were during the last upfront -- debating the value of live viewers vs. the DVR crowd. Not-so-grand bargainIn exchange for letting Madison Avenue have its commercial ratings -- and therefore negotiate on the basis of a smaller audience -- networks are trying to bake in some way to regain the other audience they're losing, the time shifters. They are insisting they get paid for that sliver of DVR-enabled viewers who stick around to watch the ads as well as the programs after they originally air. That will stick in the craw of many advertisers, which "really see the biggest value in those ratings that are live or close to live," said Bill Duggan, exec VP, Association of National Advertisers. "It's just such a short-term business environment these days." Until now, marketers have paid TV networks for ad time based on the popularity of shows, not viewership of the commercials themselves. Commercial ratings are a step toward changing that, allowing prices to be set by viewership of ad breaks. While the new Nielsen ratings don't track individual ads or specific time slots, they offer average viewership of all the national commercial minutes in a program. And that could be the metric upon which this year's upfront deals are struck. But the networks are pushing for it to include DVR viewers, hoping to bank a figure at least on par with last year's upfront take, estimated between $8.75 billion and $9 billion. Buyers and sellers seem to be settling on "live plus three," allowing the ratings to include viewers who watch as many as three days later. "It gives the media credit for the way in which people are and will increasingly watch TV, and that's in some sort of time-shifted mode," said Alan Wurtzel, president-research and media development for NBC Universal. Keeping viewers in seatsThe problem is that most DVR viewers zap past the ads. Those who do watch them may see them long past their expiration dates. According to Nielsen, about 17% of U.S households have DVRs, and viewers 18 to 49 watch 10% of all broadcast-network prime-time programming via DVR. Network executives estimate more than half of those viewers skip the ads altogether. Even though Nielsen data shows that audiences grow the longer the viewing window, viewership of commercials lags significantly behind viewership of programs. This brings up issues for advertisers. A number of big-spending categories need to reach consumers at a specific day and time. Package-goods marketers, for instance, often use TV ads to push products being promoted with coupons. If an ad tells people to "pick it up in this Sunday's paper," and the ad is viewed after Sunday, "that message has now been devalued," said Scott Haugenes, senior VP-group director, national broadcast, Initiative. Fast-food marketers often have tie-ins to short-lived promotions -- offers for particular sandwiches or film openings. Retailers are known for advertising sales taking place in a few days. For movie studios, advertising on network TV on Thursday night has long been a dependable way to drive audiences into theaters for Friday film openings. "For the studios, the commercial message is timely. It has to be day-specific," said Jeff Robinson, senior VP-national television, Palisades Media Group, which handles buying for a number of movie studios. More every dayWhile DVRs don't account for the majority of viewers today, "there will be more every single day," said Ed Gold, director-corporate advertising for State Farm Insurance. "We are very concerned about utilizing any playback numbers until it's proven to us that people actually watch the commercials during playback." Nielsen's data is supposed to be compiled via set-top monitors that note whether viewers change the channel during an ad break or zap through ads with a DVR. For advertisers more focused on developing image and building awareness, people who see their ads days after they air are just as welcome as those who see them live. "We are in agreement that 'live plus three' data is the appropriate metric since most time-shifted viewing occurs within that time frame and the majority of our campaigns are not day and date sensitive," said Jon Stimmel, director-media buying, Unilever USA. "DVR playback of programming is only going to increase, so altering the economic model now is imperative." Even with commercial ratings in hand, this year's upfront is expected to continue at a glacial pace, media buyers said. Once completed in a matter of days, the annual ad-sales bazaar is taking weeks as a dizzying array of new media gives big networks more competition for ad dollars. Ultimately, commercial-ratings data doesn't solve Madison Avenue's need to demonstrate to senior corporate executives that advertising helps increase sales and brand awareness. Adding DVR viewers ito the mix may muddy the waters, and both sides now must be sure those viewers are really worth the extra money. "We want to pay for what we get. What we get is someone watching a 15- or 30-second spot," said State Farm's Mr. Gold.
sexta-feira, 1 de junho de 2007
Conteúdo é Rei
Conteúdo norteia mercado de TV, diz presidente da TelemundoProduzir conteúdo de alta qualidade e distribuí-lo para todas as plataformas de mídia são questões que devem nortear o mercado de produção audiovisual e de televisão do mundo todo. Durante palestra hoje de manhã, a primeira do 8° Fórum Brasil - Mercado Internacional de Televisão, Don Browne, presidente da emissora Telemundo, afirmou que o bom conteúdo é, antes de tudo, o grande pólo de atração dos grandes gênios da empresa.Roteiristas, produtores, diretores e tantos outros profissionais de produção podem proporcionar, inclusive, os avanços tecnológicos. "A tecnologia cuidará de si mesma, por isso temos que nos concentrar no capital humano". O Brasil, na opinião de Browne, é um dos países mais férteis em talento e criatividade. Parte dos grandes sucessos do Telemundo saiu daqui. Mas a marca brasileira, na opinião dele, ainda é a telenovela.Além de garantir uma boa equipe, o conteúdo rege também os negócios. A Telemundo, que há 20 anos produz conteúdo hispânico nos EUA, está investindo em um modelo de negócio sem propaganda. Os produtos, neste caso, entrariam com maior força dentro da programação. A idéia aqui é dançar conforme a música que, neste caso, é tocada pelo consumidor. Com as novas plataformas e com os novos formatos de conteúdo é ele quem vai determinar cada vez mais o que e quando vai consumir.Browne garante que a demanda mundial por conteúdo vai aumentar. Mas como não se perder no meio de tantas tendências? Investindo em pesquisa. "É o sangue venoso da nossa organização". A Telemundo produz 1.040 horas de programação com roteiro por ano. Grande parte do êxito está em seguir fielmente os passos indicados pelos estudos. Em Los Angeles, a empresa mantém um laboratório de pesquisa intensivo, onde pessoas são levadas para testar produtos em desenvolvimentos. Um estudo mostrou que as pessoas consomem hoje nos EUA 14 canais de televisão, antes eram 4. A guerra pela atenção já está decretada.Marina Ferriello - Adnews
Revolução digital
Revolução digital muda a propagandaPesquisa da OgilvyOne dos Estados Unidos mostra que, até 2020, 80% das mídias serão digitais. Trata-se de uma previsão que quebra conceitos tradicionais da propaganda. Hoje, algumas ações na internet já são tão relevantes quanto as outras mídias para muitas campanhas. A revolução digital e a mudança nos hábitos dos consumidores anuncia uma nova fase no setor de comunicação. Segundo o levantamento, o consumidor obriga as agências a seguirem as suas preferências.A publicidade na internet movimenta US$ 16,9 bilhões nos Estados Unidos, ou cerca de 5,9% do bolo publicitário, segundo dados do Interactive Advertising Bureau.Fonte: Portal Estadão
Apple TV direto com YouTube
Apple TV terá link direto com YouTubeA Apple anunciou nesta quinta-feira que vai disponibilizar o conteúdo do site de vídeos YouTube diretamente para a Apple TV. A operação começará a valer ainda no mês de junho e será feita sem fios. Usando a interface do Apple TV e a simplicidade do Apple Remote, os usuários poderão facilmente navegar, encontrar e assistir vídeos grátis no conforto da sua sala de estar. "Esta é a primeira vez que os usuários poderão facilmente navegar, encontrar e assistir vídeos do YouTube sentados no sofá da sala de estar, e é realmente muito, muito divertido", disse o CEO da Apple, Steve Jobs. Os membros cadastrados no site podem, inclusive, logar-se nas suas contas pelo Apple TV para assistir e salvar seus vídeos favoritos.É fácil conectar o Apple TV em uma grande quantidade de TVs widescreen e sistemas home theater, e vem com portas padrão HDMI, vídeo componente e de áudio analógica e digital.
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