Reporte de #SocialTV Rating Argentina – Abril 2013 (Tribatics)

12 05 2013

Tribatics es un producto de la compañía de software Zauber, que permite potenciar la estrategia de redes sociales a través del análisis de audiencias (datos demográficos, de comportamiento y engagement)monitoreo en tiempo real de sus conversaciones en  Twitter y Facebook.

Desde 2012, Tribatics elabora el Reporte de #SocialTV Ratinginforme mensual sobre rating y audiencias televisivas, pensado para abordar el problema de valoración de los medios y programas de la TV a través del análisis de las conversaciones que entablan los televidentes en redes sociales (Twitter y fanpages de Facebook).

Compartimos algunas conclusiones derivadas de los resultados del monitoreo de abril 2013.

  • Se recolectaron más de 2 millones de comentarios en el contexto de los 10 programas con más buzz (repercusión) de cada mes, una cifra inédita que se convierte en la más alta obtenida desde que Tribatics comenzó a realizar sus informes de #SocialTV en Argentina.
  • El debut de la nueva temporada de “Periodismo Para Todos” elevó el volumen de menciones y ratificó el interés de la audiencia por participar activamente en programas de contenido político y opinión, como también sucedió con “678″. Al mismo tiempo, el capítulo final de “Dulce Amor” marcó récords de buzz. Entre estos 3 programas se concentró el 70% de las menciones dentro del contexto del TOP 10.

 

  • En la distribución de menciones por emisora, El Trece se erigió como la ganadora del mes con un acumulado de 960.170 comentarios, lo que equivale al 43.1% del buzz total registrado. En segundo lugar quedó Telefé, con 855.853 comentarios y una participación del 38.4%, y en tercer lugar la TV Pública, con 274.474 comentarios y un share de 12.3%.
  • En promedio, el 45.6% de las menciones sobre TV en las redes sociales fueron realizadas desde dispositivos móviles como teléfonos inteligentes y tablets. Esta cifra se ubica por encima de la media registrada en Brasil en el mismo mes, que llega al 32.26%. Esto habla de una tendencia cada vez más firme: las audiencias que comentan los programas televisivos en redes sociales se inclinan cada vez más a los dispositivos móviles para participar en las conversaciones sobre sus programas favoritos.




Redes sociales: nuevos indicadores para comprender a la audiencia, más allá del rating

7 04 2013

Por: Carolina Roncarolo

Un estudio de Nielsen y SocialGuide sobre el comportamiento de las audiencias en EE.UU arrojó que, en 2012, 32 millones de norteamericanos publicaron tweets sobre contenidos televisivos (“New study confirms correlation between Twitter and TV ratings”, 2013).

La periodista Eliza Kern advierte sobre un creciente uso simultáneo de TV y redes sociales durante eventos televisados en vivo (“How social media is becoming as important a live event as the live event itself”, febrero 2013). Ejemplifica esta tendencia con cifras del Super Bowl: en 2012, se calculan 13.7 millones de tweets al respecto, que en 2013 ascendieron a 24.1 millones.

En sintonía con estos indicadores, el sondeo de Nielsen y Social Guide postula que un incremento en el volumen de tweets acerca de un determinado programa se corresponde con un aumento de su rating, especialmente en audiencias jóvenes. Y, de esta forma, asevera que Twitter es una de las tres variables estadísticas significativas para alinear con el rating.

Por su parte, un artículo de InnovaTV Summit propone una postura más moderada: Twitter incide en el rating, pero es sólo un indicador, dado que su número de usuarios aún no es mayor que la cantidad total de personas que mira un programa (“What the Twitter correlations to TV ratings really mean”, marzo 2013).

En Argentina, Juan Melano, fundador de ComentaTV, sostiene que estamos retornando hacia una nueva forma de consumir el medio: la “TV compartida” (“El retorno de la televisión compartida”, Diario La Nación, febrero 2013). Según las cifras de ComentaTV, durante 2012, más de 3 millones de televidentes argentinos se volcaron a las redes sociales para comentar en vivo sus programas de televisión favoritos.

Si bien estos 3 millones de “tele-twitteros” argentinos representan sólo el 10% de los más de 30 millones norteamericanos, existen otros sondeos que avalan la afirmación de Melano. A través de su propio panel de consumidores cibernéticos (The Connections Panel), la agencia de medios Initiative contactó a consumidores en Argentina y otros países (Alemania, Australia, Canadá, China, Estados Unidos, Gran Bretaña y Países Bajos), para entender cómo los medios sociales funcionan integrada y complementariamente con la TV.

Su estudio “El nuevo poder de la televisión” (“The new power of television”, noviembre 2012)  explica que  la explosión de las redes sociales  ha generado un renovado interés por la TV, que se encarna en un nuevo tipo de consumidor: el “tele-conversador”.  Los “tele-conversadores” representan más de la mitad de los televidentes de entre 16 y 54 años. Generan historias y diálogos paralelos sobre  lo que ven en pantalla, comparten con sus seguidores los contenidos que les gustan, y publican frecuentemente sus preferencias en las redes sociales.

En el siguiente video, el fundador de ComentaTV explica cómo funciona la aplicación y por qué constituye una herramienta útil para que canales y productoras puedan medir el impacto de su programación en las redes sociales, y entender qué hay detrás de la interacción entre audiencia y contenido.

Nuestra relación con la televisión es puramente emocional. Y aunque su consumo sigue siendo individual, la necesidad de compartir esas emociones es un impulso poderoso”, concluye Melano. Sarah Ivey, Directora Mundial de Planificación de Comunicación de Initiative, destaca el potencial de negocio que hay detrás de la sinergia entre TV y redes sociales. “La televisión se ha convertido en un punto centro de  navegación en lo relativo a experiencias de marcas, donde la gente puede involucrarse  de tal modo que crean sus propias versiones sobre la historia a través de diferentes pantallas. Las marcas están viendo los beneficios que genera la innovación en este espacio, y es verdaderamente una gran oportunidad para nuestra industria.”





Web TV, audiences and content producers of the XXI century: challenges and opportunities for creating a new media experience

2 09 2012

How to tell engaging TV stories for the XXI century´s audiences? Dr. Aleks Krotoski, presenter of the BBC 2 series Virtual Revolution (2010), explains why the convergence between the online and the offline has changed the way people consume media and how content creators and web developers can work together to transform the “linear-story-telling” television into a holistic, interconnected and interpretative experience.

Carolina Roncarolo (TV Observatory, School of Communication, Universidad Austral)

  • How has the convergence of social and technological networks changed the way people consume TV content?

The convergence between the online and the offline is a really interesting and new development. Primarily, because so many people are using companion screens, whether they are using a mobile phone, or a laptop, a desktop or even an I pad or another type of tablet. They are engaging with television content in a way that tends to be distractive, so they are half looking at it or they are engaged in a different way, by actually following Twitter streams, or getting involved in the direction of a storyline if it is a drama. For example, in the UK there is a program called The million pound drop, and that is very much online environment which is a quiz show that has a very strong Internet element, but is broadcasted on TV.

I think, primarily, the key part of this is the evolution of the audience member, and his or her belief in their role in the participation of television content. No longer are they necessarily be happy to simply consume in a very linear way when somebody else is managing the direction or how the content is going forward, how the content is laid out for consumption. They actually want to engage, want to participate, want to be involved in the storyline, the news idem…They want to feel that they are actually participating and taking part in the story. Part of this has to do with this phenomenon that I like to call “the cult of me”, in which the individual is the centre of his or her network. The individual is the hero of his or her journey, and this is facilitated because of the participatory elements of television and the participatory elements of the online, and they are now the centre of the story, and, therefore, they want to feel they are part of the story.

  • What are the new possibilities that multi-platform television presents for audiences and producers?

I´m interested in a very holistic, interconnected and interpretative schema, in which web developers content, interactive content developers and television “linear-story-telling” producers can actually work together, and can actually create something that´s completely new, completely different.

There are a couple of good examples. One of them is the BBC TV series Lost. It was fantastic and very clever how it tried to keep the audiences engaged and also give them a deeper experience of what they are demandingAlong with the linear television offering (that was produced by JJ Abrahams and other writers) there was also a parallel storyline, but online.

They created something that is called “the Lost experience”; and “the Lost experience” was something that falls into an interactive offering that is called the Alternate Reality Gaming environment: they literally created a completely different storyline that used the same characters within the universe, and extended that in a really interesting way that challenged the audience members to engage more deeply in the storyline that was happening on screen, whether it was because it forced to watch the ads in between each of the episodes on the television by dropping in clues, or dropping in hints about what was happening in the online version, or by asking the audience members to look at print advertising.

  • What is the audience researcher to do in the age of the Internet? Can we still talk about “audiences” and “content producers” as separated units?

I think that there is definitely an argument to suggest that content developers and audiences are starting to blur, but there is still a real and important role for content developers and story tellers to have their own interpretation. I will use an example of The Virtual Revolution. It was a hilarious moment at which point I was walking around Ghana or New York, or everywhere taking photographs, tweeting, sending Facebook updates, and that was intended for the online audience, that was intended for the people that I was hoping to engage in that particular area. But there was a cameraman on the program who literally thought I was wasting my time…So why are you doing this? We are making and creating a story that is total from our point of view. There is a narrative that we worked together to create a single linear story, as content developers and as people who were trained in this (whether is journalists, directors of photography, directors of program or producers).

Where the blur happened? How that linear story was reinterpretated by the audience member? We allowed people to download all of the raw material that we shot (whether it was a beautiful scenery, whether it was interviews with Bill Gates or Tim Berners Lee), and then to tell their story using the material that we had shot, using the interview questions that I have asked, using the incredible general views that we took with the director of photography. Now we have created that through our training in many ways, so we set the standard, we created the benchmark and said we are telling you a story. But then we asked the people to say we recognized that ours wasn´t the last word in the story. We asked people to say: “OK, fine, what´s your interpretation of this?”

So in many ways the original content as a linear story was important to be a single view interpretation. But we thought but it was very important that the audience, who were also the content creators, took that, remixed, mashed up and told their own stories, recognizing of course that everybody can be a story teller, if he or she has the skills.

Most people in television feel in some way as if were impervious. They are thinking that the issues which affect the music industry and the film industry are not necessarily relevant to them because they have a different business model. They are more concerned about how to retain audiences as supposed to, how to protect their own copyright and their IP…

At the moment there are very many models that are dealing with this issue, and I think more than anything else that it´s the small distributors and it´s the small developers that are having greater trouble. Because it´s the small production companies that, for example, have one film that they create every year, and then rely on foreign sales to support them. And if somebody pirates and downloads it across the world, that makes this content less valuable when the distributor seeks to sell to a territory.

One of the solutions that have been proposed is the creation of content that happens around the linear television production. Like “the Lost experience” and some other things that are happening out there: to create a unique experience around the television experience, so that when people are on their laptops or their Ipads, they will watch at the same time as everybody else is watching on the linear television channel, but then also engage in their own way by the technology. But everybody is doing it at the same time.

In terms of the distribution angle (the middle section), they are now thinking about different windows for releasing content, whether is on DVD, whether is on play again types of scenario. In the UK we have the BBC iPlayer, in the US increasingly people are downloading content via Hulu, so we are starting to see the shift of the window of consumption. And so distributors are starting to think about how they change the release window strategy, to make sure that everybody around the world gets the content at the same time.

I´ve spoken with content creators, often comedy writers or even drama writers, and they are simply very keen to get their content out to as many people as possible. If the distributor or the channel doesn´t decide to sell it to a particular territory or that particular territory has decided that it doesn´t want to buy that television program, then content developers may not feel so bad if individuals in that territory download that content, because ultimately they are benefiting from the fact that more people are watching the program. And there have been cases in which the audience who has downloaded the content then demands or creates a demand such that the television company in that territory purchases the content in the end.

  • How has Social Media changed the relationship between audiences, content producers and TV programs?

What is really exciting about the role of Social Media in television development (and, in fact, any media development) is the role of the fan. And not just the role of the fan communities, but the super fan communities, this people who are very invested, who perhaps would be the first people who download a track, or watch a television program, or want actually to get deeply involved in the production and participate in it. Super fans are incredibly powerful, and a fascinating community; we saw it very much before the Social Media revolution with Buffy the Vampire Slayer, that was a very big pre Social Media fan community. We saw something like this with Star Trek as well.

Since we have started to see writers working with superfans via Social Media making this connection, we have started to see Social Media been actually used as a platform to tell some of the stories that are happenning or to test out some of the stories. So not only does Social Media allows super fan communities to form, but it also allows the creators of the television programs that actually reach into those communities and connect with their fans directly.

  • Why participation in Social Media has empowered the audiences?

Certainly, web participation has empowered audiences, and I think it is most obvious when you see how they are demanding, not just Twitter hashtags, but Facebook pages, and certainly participation in the creation of media. And just web participation in general I think is created by this “cult of me”, this sense of the individual should have a rol in what is the third consuming.

And that is starting to shift the balance; it is starting to create a tension between successfull program makers and unsuccessfull program makers, and specially we are starting to see more Social Media and web investment and involvement from content creators in order to facilitate and encourage people back to television.

  • Can people participation contribute to improve the quality of TV contents?

There are a couple of arguments about whether or not the participation of audiences would improve or reduce the quality of TV contents. The contra argument would be that you are creating a kind of lowest common denominator television: too many cooks for the soup. And, again, this goes back to the idea that you can help to shape, but perhaps in the end this is still the responsibility of an individual or a small group of individuals to take an idea to broadcast. And that´s a very exciting aspect of this interpretation of the linear story as it goes out, in many ways as a kind of firebrand, as an inspiration tool technique. But, on the other hand, of course the more cooks that you have you are adding ingredients in the soup, then more interesting a product may become.

  • To sum up, in the following years, will be possible to continue talking about TV as a mass media, or will it be “absorbed” by the web?

I don´t think it´s a zero sum equation. Each particular media has its own affordances; television it´s a great media for story telling, and the Internet is a great media for interactivity. And so, therefore, we can´t neccesarilly say that is the end of television as a mass media, simply because there are different affordances of that particular media, as  there are different affordances of the web, radio, of books, of cinema, of any kind of mass media.

  • What will be the new definition for the TV of the future?

I imagine that the television of the future will be di facto interactive, or certainly it will have a di facto interactive element. The story telling will continue in the same way I think it now, but perhaps with the extra elements that happen around the television story. And certainly there will be engagement and participation on multiple screens. For example, it was fascinating to watch the Olympic that happened in London, because you could literally watch what was happening on the linear television, and then you could watch another stream on your laptop, and another thing on your Ipad. So, I was able to watch four or five different streams of content that were happening from the same television channel. I think there will be more customer or audience consumption through different streams. Perhaps in different camera angles, as we have seen already in football matches. Or perhaps, like the Olympics, it is different contents that are happening at the same time.

……………………………………………

About Aleks Krotoski

Is an academic and journalist who writes about and studies technology and interactivity. She is the presenter of BBC Radio 4’s The Digital Human science series and The Guardian’s Tech Weekly podcast.

Her new book, Untangling the Web, based on her Guardian and Observer column, will be published in September 2012.





“TV-redes sociales, la nueva pareja”, artículo de CNN Expansión

2 05 2012

Recomendamos la lectura del artículo de Julianne Pepitone, publicado el 16 de abril de 2012 en el sitio web de CNN Expansión. A continuación, destacamos los párrafos más relevantes de “TV-redes sociales, la nueva pareja”:

“(…) Es el sueño de cualquier anunciante: no una, sino dos pantallas para captar la atención de los consumidores. Las compañías se están sumando a esa tendencia con aplicaciones para mejorar la experiencia de la televisión y, por supuesto, para vender más anuncios (…)”.

“(…) De acuerdo con Nielsen, cuyas estadísticas más recientes provienen del tercer trimestre del año pasado, el 68% de los usuarios de tablets dicen que al menos “varias veces a la semana” usan sus dispositivos mientras ven la televisión. Alrededor del 63% de los usuarios de teléfonos inteligentes dicen lo mismo, usan su smartphone mientras ven la tele.

Es un mercado maduro para la inversión publicitaria, pero los anunciantes de marca, los creadores de programas televisivos y una nueva cosecha de startups especializadas en la televisión social tienen, todos, diferentes ideas sobre qué hacer con ese dinero.

La táctica más sencilla y rápida, crear un hashtag de Twitter sobre un comercial o promocionar una página de Facebook en la esquina de la pantalla durante un programa de televisión, se está convirtiendo en cosa del pasado (…) Lo que conviene es encontrar una manera de entrar en la historia, a fin de que el contenido, la conversación y la comercialización converjan (…)”.

“(…) Una larga lista de startups se centran en diferentes piezas del rompecabezas (…)”.

“(…) Get Glue se autopromociona como “una red social para el entretenimiento.” (…) los usuarios se registran (check-in) para decir que están viendo un programa, y así ganan puntos y otras recompensas (…)”.

“(…) La empresa neoyorquina Unami adopta un enfoque automático. Su aplicación gratuita para iPad utiliza la técnica ‘audio fingerprinting‘ para reconocer lo que un usuario está viendo, ya sea en vivo o en un DVR. La aplicación, a continuación, extrae información sobre el elenco de la serie, noticias, chismes, feeds sociales y mucho más (…)”.

“(…) Miso se amplió para incluir una función llamada SideShows: una herramienta para las cadenas de televisión o los fanáticos que crea una segunda pantalla de contenidos (…) Los usuarios pueden acceder a los contenidos de SideShows a través la aplicación de Miso para iPhone, y la empresa también está probando una función similar al ‘audio fingerprinting’ de Unami que automáticamente sincroniza la aplicación con un programa. Por otra parte, los clientes del servicio triple play AT&T U-Verse y de DirecTV pueden sincronizar la aplicación de Miso con sus decodificadores. Las cadenas de televisión y los anunciantes pueden pagar para colocar anuncios en esa segunda pantalla de Sideshows (…)”.

 

Para ver y entender: el caso GOAB TV

GOAB TV es un nuevo concepto de televisión pensada para la Web 2.0 y los dispositivos móviles que, con una especie de tablet-mando a distancia como soporte (GOAB),  “conoce” los gustos del televidente y se adapta a su estado de ánimo, mientras le permite participar en concursos, tener información ampliada de acontecimientos que se muestran en pantalla, estar totalmente conectado con sus amigos y hacerlos partícipes de sus experiencias.

“Todos tenemos claro que la televisión como objeto de consumo pasivo tiene las horas contadas”, reflexiona la agencia de Marketing interactivo Syzygy. “No así el siguiente paso en su evolución: la televisión social (o “Social TV“), la cual hace del espectador un agente activo más”.








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