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市場調查報告書

廣告與第二螢幕: 當電視以互動作為目標

Advertising and the Second Screen: When TV Becomes Interactive and Targeted

出版商 IDATE DigiWorld 商品編碼 336708
出版日期 內容資訊 英文 56 Pages
商品交期: 最快1-2個工作天內
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廣告與第二螢幕: 當電視以互動作為目標 Advertising and the Second Screen: When TV Becomes Interactive and Targeted
出版日期: 2015年07月29日 內容資訊: 英文 56 Pages
簡介

與網路的競爭變得更加激烈、為了繼續維持媒體的領先地位必須改變電視的廣告方式。

本報告針對電視與網路提供廣告收入變化比較、分析電視觀眾的觀看行動急速變化。電視觀眾同時使用第二螢幕開啟的可能性、以提供觀眾更多全新互動為目標有可能開拓新的使用者或尋找到新的廣告贊助商。

第1章 摘要整理

第2章 調查方法與定義

  • IDATE調查報告與整體調查方法

第3章 電視的資金調度與廣告收入的分配

  • 電視的資金以廣告收入為主
    • 全球市場
    • 地區市場
  • 觀看影片的方法增加競爭激烈化對於頂級商務電視利益關係者不利
    • 使用網路的設備普及提升
    • 全新的收視習慣開始生根
    • 傳統電視漸漸被遺忘
  • 廣告市場轉向網路
    • 頂尖的媒體集團互相爭奪廣告收入
    • 網路廣告收益持續穩定成長
    • 更換的原因
    • 電視台與內容供應方的課題

第4章 為何電視產業必須適應新環境規範

  • 以第二螢幕為主要工具加強廣告互動
    • 在電視廣告中添加主題標籤作為成功的開端
    • 採用自動內容辨識軟體
  • 電視引進巨量資料與程式化購買
    • 什麼是程式化購買?
    • 轉變為程式化電視
  • 電視與第二螢幕的廣告策略
    • 播放中的廣告與第二螢幕結合
    • 電視節目與第二螢幕結合

第5章 電視廣告的未來為何?

  • 對全新廣告模是保持信心、特別是以第二螢幕為目標的廣告潛力
  • 與電視生態現有企業發展合作
  • 可能會對全新模式發展造成阻礙的原因
    • 消費者願意接受新模式嗎?
    • 使用者隱私與自我認定
    • 平台增加代表問題也增加
    • 必須引進新的計算工具
    • 編輯的責任問題
目錄
Product Code: M15295IN1

This report explores how live TV will need to change its advertising practices to handle growing competition from the Internet and protect its status as top mass medium.

It compares the way ad revenue is progressing for both TV and the Internet, and looks at the rapid changes in TV viewers' behaviour.

The report examines whether live TV needs to borrow certain recipes from the Web, to line up with viewers' new habits and advertisers' new demands.

It explores the new possibilities opened up by the simultaneous use of the second screen by TV viewers, to deliver a new, more interactive and targeted experience to users and advertisers alike.

It concludes by assessing the development outlook for these new brands of advertising, and details the obstacles that are likely to impede television's path to merging with the Internet.

Table of Contents

1. Executive Summary

2. Methodology & definitions

  • 2.1. General methodology of IDATE's reports

3. How much does ad revenue contribute to TV financing?

  • 3.1. The weight of advertising in TV financing
    • 3.1.1. At the global level
    • 3.1.2. Regionally
  • 3.2. Growing competition from new ways to watch videos penalising top commercial TV stakeholders
    • 3.2.1. High ownership levels for Internet-ready devices...
    • 3.2.2. ... which facilitates the rapid adoption of new viewing habits ...
    • 3.2.3. ... at the expense of traditional TV
  • 3.3. The ad market's move to the Internet
    • 3.3.1. Top media groups vying for ad revenue
    • 3.3.2. Internet advertising revenue growing steadily
    • 3.3.3. Reasons for the switch
    • 3.3.4. A challenge for both TV channels and content providers

4. Why TV industry players need to adapt to the new paradigm

  • 4.1. Using second screens as the main tool for targeted and interactive advertising
    • 4.1.1. Using hashtags in TV commercials to get a foot in the door
    • 4.1.2. Use of automatic content recognition software
  • 4.2. Big data and programmatic buying adapted to the TV universe
    • 4.2.1. What is programmatic buying?
    • 4.2.2. The switch to programmatic television
  • 4.3. Advertiser strategies for TV and the second screen
    • 4.3.1. Advertising on the second screen tied in with an airing commercial
    • 4.3.2. Advertising on the second screen tied in with the TV programme

5. What does the future hold for TV advertising?

  • 5.1. Strong belief in the potential of new targeted ad formats, especially in tandem with the second screen
  • 5.2. Developing partnerships between the ecosystem's existing players
  • 5.3. Still potential obstacles to the development of these new formats
    • 5.3.1. Will consumers embrace these new formats?
    • 5.3.2. Users' privacy concerns and willingness to identify themselves
    • 5.3.3. More platforms means more challenges
    • 5.3.4. The need to implement new measurement tools
    • 5.3.5. The issue of editorial responsibility

List of Tables

  • Table 1: Growth comparison for the number of channels and TV ad revenue in Europe between 2009 and 2013

List of Figures

  • Figure 1: Evolution of media ad revenue around the world between 2009 and 2018
  • Figure 2: Evolution of the global TV market's different sources of financing between 2012 and 2019
  • Figure 3: How television's sources of financing will change between 2014 and 2019, by region
  • Figure 4: Comparison of fixed and mobile broadband density levels in a selection of countries, at the end of 2014
  • Figure 5: Comparison of ownership levels for laptop and desktop computers, tablets and smartphones in a selection of countries, in October 2014
  • Figure 6: Which devices are used to watch videos, in a selection of countries
  • Figure 7: Comparison of how many Internet users have watched films or TV programmes online during the past week, by type of service
  • Figure 8: Change in the top channels' audience share in a selection of countries, between 2003 and 2013
  • Figure 9: Comparison of ad revenue growth for Europe's top broadcasters between 2010 and 2014
  • Figure 10: Growth of media ad revenue worldwide between 2009 and 2018
  • Figure 11: Evolution of regional ad revenue between 2009 and 2018
  • Figure 12: Evolution of mobile's share of online revenue, 2009 to 2018 21
  • Figure 13: Evolution of ad revenue generated by social media and OTT video worldwide, and their share of total online ad revenue between 2010 and 2018
  • Figure 14: How much French TV viewers tweet, by type of programme, in 2014 24
  • Figure 15: Impact of Twitter on advertising effectiveness
  • Figure 16: The power of the second screen
  • Figure 17: How the Chirpify Actiontag Platform works
  • Figure 18: Use of the SDK Intrasonics solution for a second screen application from automotive manufacturer, KIA, during the Australian Open
  • Figure 19: How Viggle is used
  • Figure 20: Example of Beamly integrated into the BBC's catch-up solution, the BBC iPlayer
  • Figure 21: Examples of the Beamly app used in the UK
  • Figure 22: The Shazam Engagement Rate
  • Figure 23: Evolution of programmatic digital video ad spending in the US, 2013 to 2016
  • Figure 24: How TV Audience Sync from Teletrax works
  • Figure 25: Illustration of the Honda Jazz application at work
  • Figure 26: Coca Cola's Chok app
  • Figure 27: Illustration from the Weetabix second screen campaign
  • Figure 28: Illustration of the "Tag the ad, get a Pepsi" campaign
  • Figure 29: Screen shot of the Pillsbury "shazamable" spot
  • Figure 30: Screen shot of the Waitrose "Blippable" spot
  • Figure 31: The Heineken Star Player app tied with in Champions League matches
  • Figure 32: Illustration from a "shazamable" snowboarding competition, aired on NBC and sponsored by Red Bull
  • Figure 33: Illustration of the Chevrolet Game Time app designed for the Super Bowl 2012
  • Figure 34: March Madness 2015 live app sponsors
  • Figure 35: Screen grab from the Dove Men+Care campaign run during March Madness
  • Figure 36: Lexus sponsored exclusive bonus content for the second screen from the USA Networks series, Psych
  • Figure 37: Visual of the Verizon sponsorship of the Fox network's Xtra Factor application
  • Figure 38: Which forms of interactive advertising offer the best money-making opportunities for TV operators
  • Figure 39: What impact targeted advertising is likely to have on the TV industry
  • Figure 40: The most promising forms of TV audience targeting
  • Figure 41: Ad categories that are expected to enjoy the greatest increase in 2015
  • Figure 42: How ads fare with consumers
  • Figure 43: Users' ability to notice and be receptive to different ad formats
  • Figure 44: Market players' view of how consumers will accept new approaches
  • Figure 45: What kind of user data is currently being collected?
  • Figure 46: Market players' use of analytics

Companies referenced in this report

Producers/Broadcasters/Media companies

  • ABC
  • Antena 3
  • BBC
  • CBS
  • Channel 4
  • Channel 7
  • DirecTV
  • Discovery
  • Disney
  • Endemol
  • Fox
  • Fox Televisions
  • Foxtel
  • HBO
  • ITV
  • Mediaset
  • Modern Times Group
  • MTV
  • NBCUniversal
  • Network Ten
  • RTL
  • TF1
  • Univision
  • USA Networks

Automated content recognition or augmented reality applications

  • Beamly (Zeebox)
  • Blippar
  • Shazam
  • Viggle

Internet companies

  • Facebook
  • Google
  • Instagram
  • iTunes
  • Pinterest
  • Twitter
  • YouTube

Technological solutions providers

  • AdMore
  • Audible Magic
  • BrightRoll
  • Chirpify
  • Civolution
  • Clypd
  • Gracenote
  • Intrasonics
  • Mediamind
  • PlaceMedia
  • Preplay
  • SlingPlayer
  • TubeMogul
  • VUDU
  • WideOrbit
  • Yume
  • Zenterio

Advertisers

  • Adidas
  • AT&T
  • Coca Cola
  • Dove
  • Expedia
  • Heineken
  • Honda
  • KIA
  • Lenovo
  • Oreo
  • Procter & Gamble
  • Red Bull
  • Verizon Wireless
  • Waitrose
  • Weetabix

Media agency

  • Starcom MediaVest Group (SMG)

Ratings & audience measurement companies

  • BARB
  • Médiamétrie
  • Nielsen

Slideshow contents

How much does ad revenue contribute to TV financing?

  • The weight of ad revenue to TV financing
  • Growing competition from new ways to watch videos penalising top commercial TV stakeholders
  • The ad market's move to the Internet

Why TV industry players need to adapt to the new paradigm

  • Using second screens as the main tool for targeted and interactive advertising
  • Big data and programmatic buying adapted to TV
  • Advertiser strategies for TV and the second screen

What does the future hold for TV advertising?

  • Likely development of new forms of targeted advertising on the second screen in partnership with all of the ecosystem's players
  • Still potential obstacles to the development of these new formats
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