SURVEY
PRODUCTION 100 TV FUNDING
tool which will provide the industry’s first unified advertising metric – in response to growing calls for an effective measurement system across linear and Broadcaster Video On Demand. Using combined linear TV
and BVOD data, CFlight will show media buyers what the overall advertising exposure is for their TV campaigns, notably reach and frequency metrics. Its arrival has been widely welcomed. “A linear channel is
rarely now considered as a standalone medium,” says Becky Smithson, Head of AV Strategy at Havas Media Group, which buys and plans media for brands including Dominos and Starbucks. “In order to effectively reach
audiences, the accompanying BVOD platform will virtually always be bought alongside the linear. “When you consider that for
shows like Love Island, where 55% of the viewing takes place via ITV Hub, or that the lightest half of TV viewers account for only 19% of linear viewing (and 65% of BVOD viewing), this dual approach is a given.” Other developments include
a skills shift within airtime sales as they evolve beyond straight sales to offer brand owners bespoke ‘commercial solutions’. Then there’s the
addressable audience products now available via ‘advanced advertising platforms’ such as ITV’s Planet V and Sky’s AdSmart that help advertisers better target their campaigns. All of which is good news.
Yet the question of just how viable the ad-funded TV model is over the longer term still looms.
THE LONG-TERM VIABILITY OF THE AD-FUNDED MODEL
Commenting on the global rise of online video and streaming, Google Senior Vice President and Chief Business Officer Philipp Schindler recently talked of advertisers increasingly needing to look beyond linear TV to achieve their reach and awareness goals . “On average, 70% of
YouTube’s reach was delivered to an audience not reached by the advertisers’ TV media. So not only are we driving improved reach, but we’re also helping brands do it more efficiently,” he said. “And as a result of this,
you see many advertisers re- evaluating their media mix and increasing their investments in our platforms.” For some, perhaps. Yet
many brand owners are concerned about the risk of their digital ads appearing online against inappropriate content. Meanwhile, a ‘brand- safe’ advertising environment – along with content quality – is one broadcast TV’s enduring strengths. “The gloss of TV comes
from high-quality content which creates a high-quality, brand-safe ad environment as for the advertiser, a high- quality ad environment directly leads to higher quality ad recall,” says Ed Cox, Managing Director of Yonder Media UK, whose clients include Pilgrim’s Choice and Kerrygold. “Other ways to monetise
content – from sponsorship to advertiser funding and brand content – will also grow, and we are exploring them all.
Autumn 2021 P55 Bandicoot’s The Masked Singer
televisual.com
Viewers see broadcasters as the main curators of quality content and will continue to do so for quite some time yet.” BVOD has also opened
access for a new pool of advertisers. “Those without the big
budgets of major brands for national TV campaigns can deliver exposure in quality broadcaster content with targeted addressable or BVOD solutions, at a much lower cost at point of entry,” Smithson adds.
WHERE NEXT?
UK broadcasters now face countless challenges. There’s the generational shift among younger age groups away from
A LINEAR N I CHANNELS RARELYOW CONSIDERED AS A STAND ALONE MEDIUM
Red Production’s It’s a Sin
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