62 TVBEurope Data Centre The television social
Social media provides a powerful platform for content creators and advertising agencies to get closer to their audiences, writes Keith Bedford, managing director at EBS
been seen on TV. It identifi ed two ways in which people use Twitter hashtags around TV content: ‘Punch lines’ where hashtags are used as a creative and funny way to sign off a tweet about a TV show; and ‘Sorting’ where hashtags are used to categorise conversations and as a way to fi nd new content associated with the TV show. The report highlights that users search for a hashtag to learn more, so brands need to make sure they have additional content ready and waiting.
With all these conversations taking place 24/7, how do broadcasters and advertising agencies track what’s being said? In the UK, traditional viewing fi gures are compiled by the Broadcasting Audience Research Board (BARB), which commissions specialist research companies Ipsos MORI, Kantar Media and RSMB to collect data that represents the television viewing behaviour of the UK’s 26 million TV households. This is important information that provides viewing fi gures for each programme aired in the UK but it doesn’t tell the broadcaster or advertising agency how engaged the viewer is or how they interpret the show.
Twitter conversations and statistics around ITV’s Broadchurch series
SOCIAL MEDIA has provided programme creators and advertisers with an effi cient and productive tool that nurtures and grows conversations about their programmes. The constant chatter on Twitter and other social media networks about what’s on TV allows broadcasters to engage with their audiences, provides them with an additional data set to track viewers, and in some instances, has had a huge impact on social and economic issues. Take Hugh’s Fish Fight as an example. In 2010, Hugh Fearnley-Whittingstall launched a campaign to highlight the large quantities (50 per cent) of edible fi sh that were caught in the North Sea
and were then thrown back dead because of EU laws. The three-part TV series, Hugh’s Fish Fight, was aired on consecutive nights in 2011 as part of Channel 4’s “Big Fish Fight” season and carried the hashtag #fi shfi ght. Following the show, 220,000 tweets and 225,000 emails were sent to MEPs; celebrities in Germany, France, Spain and Poland launched their own fi sh fi ghts; and three years later, Europe’s politicians have voted to ban discards. This campaign stirred our social conscience into action and highlighted the combined might of social media networks and television. This is backed up by a recent study by Twitter and
A platform developed by London and Bristol-based company Second Sync, recently acquired by Twitter, provides a solution. The platform analyses millions of social media conversations that take place every day around TV broadcasts
“The constant chatter on social media networks about what’s on TV allows broadcasters to engage with their audiences, provides them with an additional data set to track viewers, and in some instances, has had a huge impact on social and economic issues”
Thinkbox that looks at the use of Twitter by audiences watching television in the UK. ‘#TVTwitter: how advertisers get closer to conversation’ gives insight to advertisers who want to be part of the TV conversation on Twitter and
will help brands understand the emotional drivers of this behaviour as well as the potential business benefi ts. The research shows that 75 per cent of people believe hashtags are searched for on Twitter because they have
to provide audience insights that can be used alongside traditional TV audience fi gures. This data brings clarity to what engagement means for programme makers, broadcasters and advertisers. Andy Littledale, managing
www.tvbeurope.com August 2014
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