At VideoNuze’s Connected TV Advertising Summit last month, one of the issues most often raised by speakers was frequency. Sometimes speakers articulated the issue through their lens as an industry participant; other times it was from their own personal experience. For example, in our final session of the conference, Cara Lewis, EVP, Head of US Investment for Amplifi USA / Dentsu spoke about her experience streaming during the miserably cold Memorial Day weekend (slightly edited for clarity):
“Frequency is definitely an issue. And I can tell you just for myself and my viewing experience this weekend, it was extremely rainy. And I watched a lot of CTV and I kept on seeing the same commercial over and over again, which is completely frustrating because I'm being told as somebody who's buying these ads that we have a frequency cap. Maybe those advertisers didn’t have one, but if they did what I saw was well over what I know our advertisers put in as a frequency cap.”
My experience mirrors Cara’s, as I mentioned in Q&A after moderating a CTV session at Pubmatic’s ENVISION conference two weeks ago. As VideoNuze readers know, I watch a lot of professional golf, on Golf Channel, NBC and CBS, most often on my Roku devices and using YouTube TV. It is mind-boggling how often the same ads are repeated. Admittedly I’m not sure if what I’m experiencing is a CTV frequency issue. It could have much more to do with the TV network, the rights of tournament sponsors, faulty legacy TV system frequency capping, shortage of available campaigns, etc. Who knows.
Regardless of the root cause, as Cara said, as a viewer it’s frustrating and diminishes the experience (and because I’m never able to fully take my industry analyst hat off, even on weekends, I can’t stop thinking “really, where IS all this great adtech that I write about each week?”)
Having said all of that, a new report from Innovid and the ANA, “Decoding CTV Measurement,” asserts that the frequency problem is actually both “highly exaggerated” and likely only limited to very particular situations. Innovid and ANA studied 35 campaigns from 20 big advertisers, representing $35 million in ad spend across 169 publishers and 25+ connected device types.
Nielsen has launched Nielsen Streaming Video Ratings to provide total viewership and audience demographic insights such as race/ethnicity, household income, device types inside the home and location. The data will be reported from Nielsen’s NPOWER audience insights in conjunction with linear TV ratings with a goal of giving buyers and sellers a holistic picture of viewers’ total TV viewing time and which types of viewers are engaging with certain services and content.
At launch Streaming Video Ratings will include coverage of 10 top streaming services plus seven types of apps including subscription-based, ad-supported, network, social, gaming and pay-TV operator and virtual pay-TV operator apps.
Music video network Vevo has chosen ad measurement provider iSpot to quantify connected TV audiences and authenticate the incremental reach of advertisers’ campaigns running on Vevo. CTV has been a major source of growth for Vevo with viewership up 30% globally and up 58% in the U.S. in 2020.
The Global Video Measurement Alliance (GVMA) has added four new members, BBC Studios, WildBrain Spark, Digitas and Weber Shandwick. GVMA is an industry coalition backed by Tubular Labs to standardize measurement for digital video viewership and engagement. GVMA uses Tubular Audience Ratings, which measures de-duplicated unique audiences and minutes watched on Facebook and YouTube.
Topics: Tubular Labs
TV ad measurement provider iSpot has enhanced its unified ad measurement capability allowing brands to more accurately gauge incremental reach and effectiveness of cross-screen campaigns. iSpot has integrated demographic data into its Unified Measurement platform to provide person-level cross-screen ad measurement in real time across linear TV and 300+ streaming services. This includes age, gender, household occupancy and co-viewing measurement.
Nielsen has unveiled Nielsen ONE, a single measurement solution that will span linear and digital video viewership. According to its press release, Nielsen ONE will give marketers “visibility into total video consumption regardless of platform or device.” Nielsen said the new solution comes as advertisers are “demanding a single deduplicated view of their audiences across all platforms and mediums.”
Nielsen ONE won’t launch until fourth quarter, 2022. At that time Nielsen will start releasing parallel “cross-media ratings that will deliver metrics at subminute intervals for individual ads and content.” The goal is for Nielsen ONE to become the “foundation of the cross-media buying and selling process, succeeding the current form of TV and digital measurement no later than the Fall 2024 season.”
I’m pleased to present the 430th edition of the VideoNuze podcast, with my weekly partner Colin Dixon of nScreenMedia.
This week Nielsen released its Q1 ’18 Total Audience Report, which led to some media coverage that linear TV still dominates consumer viewing. However, Colin dug into the data and showed that while this is true for older consumers, for younger ones, the exact opposite is occurring: linear TV is becoming less and less relevant. Colin shares his analysis.
On-demand viewing’s importance was underscored yet again this week by Comcast striking a deal to integrate Amazon Prime Video into its X1 experience. The move builds on prior Netflix and YouTube integrations, helping Comcast broaden X1’s value proposition. However, neither of us thinks the move materially addresses aggressive competition from skinny bundles that drove up Comcast’s video subscriber losses in Q2.
Listen in to learn more!
Click here to listen to the podcast (23 minutes, 28 seconds)
Wicket Labs, whose platform provides audience insights for subscription video services, has raised a $2.8 million round, led by WestRiver Group. Existing investors Madrona Ventura group and Divergent Ventures also participated. Wicket Labs was co-founded by Marty Roberts and Ian Blaine, previously executives at thePlatform, which was one of the industry’s first online video platforms, and was acquired by Comcast in 2006.
Topics: Wicket Labs
Nielsen announced this morning that it will begin giving video clients credit in its Digital Content Ratings service for views generated on Facebook and YouTube. Hulu will also start giving certain content partners credit for current series available on its streaming service.
The move is significant because it means an independent third party measurement service will be providing audience metrics that can be used when aggregating total viewing across platforms. It’s particularly noteworthy because video providers are leveraging the “distributed model” by pumping video through YouTube, Facebook and other social media platforms to massively expand their reach and drive their business models.
comScore has taken the wraps off comScore OTT Intelligence, a new syndicated service that measures U.S. viewership of OTT content like Netflix, Amazon, Hulu and others on connected TVs. Subscribers to the comScore service access the data through a dashboard that includes household reach, audience size, demographics and other metrics.
The data is drawn from comScore’s Total Home Panel, which measures viewership in over 12,500 U.S. households with over 150,000 active devices per month.
OpenSlate, which provides contextual data on YouTube channels to 600+ advertisers and agencies, has raised a $7 million round led by North Base Media and hired 2 new senior executives.
New COO JoAnna Foyle was most recently SVP of Enterprise Platform Services at AOL and will oversee client services, account management, enterprise partnerships and business operations at OpenSlate. Brian Quinn takes over as President of OpenSlate, a newly-created role, heading up domestic and international sales, business development and strategic partnerships. He was most recently Chief Revenue and Innovation officer at Triad Retail Media, which was acquired by WPP/Xaxis last October.
I'm pleased to present the 329th edition of the VideoNuze podcast with my weekly partner Colin Dixon of nScreenMedia.
There was lots of data this week showing the continued evolution of TV and video, with viewers taking further control of their experiences. On this week’s podcast we discuss some of the most relevant findings. We start with Nielsen’s Total Audience Report, which among other things highlighted a 13% year-over-year decline in linear viewing by 12-17 year-olds and SVOD pulling even with DVRs in U.S. household penetration. Separate, Nielsen also gave a glimpse of its ability to track viewership in SVOD services this week, citing Netflix's season 4 premiere of "Orange is the New Black" as attracting 6.7 million viewers, which would make it the second-most watched show on cable.
Nielsen also noted the increasing role of connected TV devices, a point that new Magid research also emphasized. Colin and I agree that the virtuous cycle of proliferating connected TVs, strong SVOD content and robust broadband infrastructure are contributing to a leveling of the playing field in the living room between OTT and pay-TV.
A key ingredient in OTT’s rise is delivery quality, and Colin also touches on new research he did for Verizon Digital Media Services that reinforces viewers’ intolerance for lower-quality experiences. Colin will be doing a webinar next Wednesday, further digging into his findings.
Listen now to learn more!
Click here to listen to the podcast (24 minutes, 12 seconds)
There are more scripted TV shows being made than ever, by one recent count over 400 in 2015, up 10x in the past 10 years. In this sea of choices, how can networks attract viewers and keep them watching? Well, a new study by Canvs suggests that eliciting feelings of hate toward certain characters is the most likely predictor of increased viewership for the show’s subsequent episode.
Canvs said the study is the largest one ever analyzing the correlation between viewership and Twitter data. Canvs is a startup that uses language analytics to detect a range emotions contained in social media, which it then sorts into 56 different categories, such as “hate,” “excited,” “love,” “happy,” etc.). In the study, Canvs looked at tweets related to 5,709 episodes of 432 comedy, reality and drama shows that aired between January, 2014 and June, 2015 across broadcast, ad-supported cable and premium cable networks.
OpenSlate has released data revealing vastly different YouTube viewing for men vs. women. OpenSlate said that 62% of YouTube views by women aged 18-34 are in the Beauty & Style category, more than 10x the viewership of the next category, Health & Fitness, which had a 6% share.
The Beauty & Style category is dominated by Face & Body Care, which accounts for 40% of the views, followed by Make-Up & Cosmetics (34%) and Hair Care (13%). OpenSlate also found that Beauty & Style has the highest women 18-34 audience composition, followed by Food & Drink (38%) and Shopping (33%).
Meredith Digital has tapped Ooyala IQ for unified video engagement and performance analytics across multiple video players on properties including Parents, Allrecipes, Better Homes & Gardens and others. The deal builds on an existing relationship between the companies with Meredith using Ooyala for its Martha Stewart Living property.
With Ooyala IQ, Meredith will be able to see video performance by device, operating system, DMA, player and specific location. Ooyala IQ also gives insight into video ad performance such as drop-out rates in various formats.
The numbers used to analyze the video ad market can be cut in many different ways.
According to the IAB, video ad spend on desktop totalled US$2.0 billion, or 7% of digital ad spend, in the first half of 2015. The peak body also listed mobile video spend, a figure of less than US$300 million for the period, in its H1-15 Internet Advertising Revenue Report.
Yet we know more than this is being spent on digital video. The IAB’s report doesn’t capture ads sold in over-the-top (OTT) TV content, programming which can be delivered via desktops as well as a range of other connected devices. Data from The Diffusion Group in April forecasts ad revenue from OTT TV will reach US$8.4 billion in 2015, a number well below broadcast TV’s expected $60 billion haul.
Moat has extended its measurement and reporting capabilities to include Watchwith’s in-program advertising within TV shows, under a new partnership announced by the companies today. Moat will use its MRC-accredited platform to measure and report in-program ads’ aggregate audience time spent and user engagement with in-program ads. The reporting will be enabled on both desktop and in mobile video apps.
Ooyala has unbundled its Ooyala IQ analytics product so that video providers can use it on a standalone basis with other video players. Traditionally, Ooyala IQ was only available with the company’ own video platform. Ooyala IQ can now be used via SDKs with JW Player, Brightcove, Kaltura, thePlatform, Flowplayer and YouTube. Tests have been conducted to date, though no implementations have yet gone live.
For all the billions of dollars that are now spent on online video advertising, surprisingly little is known about viewers’ reactions and engagement with specific ads, beyond core metrics like view-throughs and click-throughs. To provide far greater insights about ads’ impact, Sticky, a biometric eye-tracking analytics company, is pioneering new approaches combining eye-tracking and facial coding. Jeff Bander, Sticky’s president, recently briefed me and shared data from campaign research it conducted with AOL.
Why did companies pay more than $9 million per minute for commercial time during the last Super Bowl? The answer: they knew that tens of millions of people would be watching their ad. Advertising rates during any broadcast are tied to viewership – the more eyeballs, the more the spot is worth. Viewership is the currency that determines how much an ad is worth, and ad revenue keeps the broadcast industry running. But what happens when you want to place an ad during a show streamed online? How much is 30 streamed seconds worth to an advertiser when there is no viewer currency to trust?