An acceleration in the number of TV stations and networks signing up for Nielsen rival Rentrak’s audience measurement service has gotten Wall Street’s attention, if not Madison Avenue’s. In a note sent to investors this morning, the equity research team at Deutsche Bank called Rentrak’s record pace of TV station contracts during the third quarter “material,” and implied it is likely to push Nielsen to accelerate its own efforts to develop and deploy some form of digital set-top data-based audience measurement service. Earlier this week, Rentrak announced an important deal with the Post-Newsweek TV station group (MDN Dec. 20), which Deutsche Bank analyst Matt Chesler noted brings the number of new stations signed up to 30 during Rentrak’s most recent fiscal quarter, and bringing the total number of subscribing stations nationwide to 113 across 27 station groups in 59 local TV markets. “That, we believe, is material,” Chesler wrote, adding that the securities firm nonetheless remains “cautious” on investing in Rentrak’s shares, especially given Nielsen’s strong dominance in the marketplace, and the fact that it is nurturing its own “return-path,” or digital TV set-top data-based service, which Nielsen executives are expected to unveil early next year. The Post-Newsweek deal is especially intriguing from Madison Avenue’s point-of-view, because the group indicated it plans to utilize Rentrak’s data as the basis of “currency” for selling advertising time. To date, only one major agency, Aegis Group’s Carat, has signed up for Rentrak data as the basis of negotiating advertising buys. While upbeat on Rentrak’s prospects, the Deutsche Bank report indicates that its recent momentum is not expected to have a significant impact on Nielsen’s near-term revenues, though it is likely to put pressure on Nielsen to move forward with its digital set-top initiative. “Nielsen is not standing still,” Chesler writes, noting that last Spring Nielsen released results of the second phase of digital set-top data studies in St. Louis and Reno, and that it will conduct a broader “hybrid pilot” in 2012. “The current plans use a hybrid approach in which return path data improves upon the existing currency, are centered around local only, and will be delivered on a market-by-market basis and led by clients,” Chesler explains, adding that while such data is the primary model for Rentrak, it still is being positioned only as an “alternative or secondary currency” for Nielsen.
Invision, which offers a management system to steward advertising buys, said it will incorporate Nielsen’s fledgling online campaign ratings into its TV-heavy product. The move is aimed at giving the system a greater place in the emerging areas of cross-platform and digital deal-making. The Nielsen system aims to offer advertisers an apples-to-apples TV and online GRP, allowing them to better compare buys across multiple platforms. The system, which is accredited by the Media Rating Council, was launched in August and uses Nielsen’s traditional TV panel and data from an online panel to deliver results, where data comes in overnight. "Today's advertisers, agencies and publishers want an accurate and consistent measurement to understand what audiences their campaigns reach across media to deliver improved ROI," stated Steve Hasker, president of the media products and advertiser solutions operations at Nielsen. "This collaboration … will allow, for the first time, clients to identify the best inventory for audience reach across media to satisfy ad guarantees in an efficient, effective manner." Invision says one of the benefits of the Nielsen system is its potential in helping TV networks to offer makegoods with online inventory. "Because of growing constraints on (TV) … and the promise of online advertising, networks have seen a growing opportunity to transfer this liability online," stated Invision CEO Lynda Clarizio.
Starcom MediaVest Group has a signed a deal with analytics company Bluefin Labs to utilize the latter’s tech platform to monitor social media chatter about TV shows and ads. The agency said it believes the Bluefin platform will help it make more informed media planning and buying decisions for clients, as it enables real-time monitoring of social media conversations. It’s not the first time Starcom has used a tech firm to monitor such activity, and the agency is not the first to use Bluefin either. Last year, WPP’s MediaCom used a Bluefin monitoring platform, although an agency rep said that it has opted not to continue usage. Other agencies use different tech platforms in efforts to achieve similar results. A Starcom rep noted that it has used other monitoring sources, including Networked Insight and Nielsen BuzzMetrics, among others. But the rep said the agency believes Bluefin provides “more advanced” techniques. As part of the agreement, SMG said that the Bluefin Signals analytics platform will be integrated with proprietary SMG systems that the shop uses to analyze media and make planning decisions. “Understanding the cause-and-effect relationship between paid and earned media is a challenge,” stated Kate Sirkin, EVP, Global Research Director, Starcom MediaVest Group. “Bluefin Labs’ data provides us with an incredibly valuable new dataset to evaluate this relationship and then gives us the ability to apply this understanding to maximize media investments for our clients.” Starcom said that Bluefin Signals provides data and analysis of social media responses to more than 346,000 individual TV telecasts airing across all television dayparts and programming genres. For media planners, the platform helps find placements on TV where brand receptivity and engagement is highest, the agency said. Other media shops use similar techniques. Last year, Interpublic Group's Initiative created a social-media solutions division called PropheSee. The unit has tools to monitor conversations on social media and other online platforms about TV shows, ads and an array of other cultural goings on. PropheSee also monitors what consumers are saying about client brands.
Online audience measurement rivals comScore and Nielsen this morning announced a settlement of ongoing patent disputes, resulting in a “cross-licensing agreement,” and giving Nielsen $19 million in comScore stock. Under the terms of the settlement, the companies said that comScore will acquire ownership of the “four Nielsen families of patents,” which include a portfolio of both U.S. and international patents for online audience measurement methods. comScore, meanwhile, has granted Nielsen worldwide licenses for its “families of the four patents.” Both parties agreed not to bring any patent action against the other for the next three years. As part of the settlement, Nielsen said it agreed to hold its newly acquired comScore shares for a minimum of one year. Nielsen President of Media Products and Advertiser Solutions Steve Hasker stated that the settlement “creates an incentive for our companies to explore potential forms of collaboration.” comScore President-CEO Magid Abraham added that it signals “a new phase of cooperation” between the two companies, but did not elaborate on what it might lead to.
Looking to gain more specific real-time social media data from TV viewers, Interpublic's IPG Mediabrands has struck a deal with Networked Insights. The alliance will examine social media TV data to gain better efficiency for clients' TV advertising dollars. Networked Insights is offering an unusual guarantee "that clients will see at least 10% better return on their TV investments." The deal will look to help advertisers in and around next year's upfront buying market. “We see a big disconnect between the TV shows a brand advertises on and the percentage of their audiences that are truly watching those programs,” stated Dan Neely, CEO, Networked Insights. “We have yet to see a single brand get this right," he added, "which is why we can offer a guarantee on our results. Enabling a brand’s TV media budget to get more reach for the same dollars spent is a win all around.” Networked Insights says it can help brands plan, optimize and measure across their TV, online media and content activities -- as well as diagnosing the exact TV shows a brand’s audience is watching by analyzing real-time data from social media. This analysis is compiled from data from a variety of social media sources, including Facebook, Twitter, YouTube, blogs and forums, as well as search and Web clickstream data.
Midsize TV station group Allbritton Communications delivered some difficult times in fiscal 2011 -- with TV advertising down versus a year ago and earnings off as well -- in large part due to lower political advertising. Local and national spot advertising sank 3.5% -- or $5.7 million -- to $157.1, down from $162.8 million in fiscal 2010. The company's fiscal year ended Sept. 30. Looking at its results over two years provides a better picture: Local and national advertising revenues increased 14%, or $20 million from fiscal 2009. Allbritton, which owns six ABC affiliates, the biggest in Washington D.C. and a regional news network, cited lower issue-oriented advertising as a big reason. Net operating revenues for fiscal 2011 were down 2.1% to $196.9 million. Net income fell 31% to $17.5 million from $25.2 million the year before. The company noted that issue-oriented advertising significantly dropped. Political advertising revenues were $7.8 million during its fiscal year 2011, down from $10.4 million during fiscal 2010. But some of this was made up by an increase in automotive spending (which other TV groups have also seen), increasing 11%. “This decrease primarily reflects decreased demand for local, national and political advertising, partially offset by increased subscriber fees,” the company said in an SEC filing. Subscriber fees increased 16.9% or $3.2 million to $21.9 million during the year.
Toy marketer Hasbro may have had more success with product placement in 2011 than any other company. Nielsen data shows its brand integrations accounted for four of the 10 most-recalled product placements for the year in broadcast prime time. Appearances on CBS comedy “The Big Bang Theory” for Twister (November) and Dungeons & Dragons (October) finished third and sixth, respectively. And both Scrabble (January) and Monopoly (October) on ABC drama “Desperate Housewives” finished 9th and 10th, respectively. Purell had the most-recalled integration of the year with an Oct. 27 appearance on “Big Bang” when the product was used after a live snake was placed into a desk drawer. Red Bull’s appearance in ABC comedy “Suburgatory” in September came in second. Ferrari on ABC’s “Castle” came in fourth, followed by Subway on NBC’s “Chuck.” Rolex’s Oct. 30 appearance on ABC drama “Pan Am” was seventh. No particular placement on Fox cracked the top 10, although the network had the show “American Idol,” with the single most placements (577). Also, none of the most recalled placements came in a reality series -– all were in a comedy or drama. Purell on “Big Bang” was so dominant that its recall index at 271 trampled second-place Red Bull’s 214 (100 is an average). The data was collected from Jan. 1-Nov. 30. A recall score is calculated by percentage of TV viewers who can recall a brand or product in an integration within 24 hours after exposure. An index is then created in comparison to a mean. NBC’s “The Biggest Loser” followed “American Idol” as the top broadcast prime-time show in number of product placements at 533. Both shows swamped NBC’s “Celebrity Apprentice,” which was third at 391. ABC’s “Dancing With the Stars” and Fox’s “The X Factor” rounded out the top five. As for most-liked ads of 2011, Volkswagen’s Super Bowl spot with a mini-Darth Vader continues to pick up honors in Nielsen’s research with a likeability index of 231. That topped a 15-second Oreo spot, where a son wakes up his dad for a Father’s Day delight, at 201. Number three was a St. Jude’s ad with snowboarder Shaun White (191) and a Hallmark spot featuring a deployed solider sharing holidays with family with a picture book (190). A Real California Milk ad rounded out the top five, and another Super Bowl spot, where a man licks Doritos crumbs off a coworker’s fingers, came in sixth.
An online video campaign for a television show can drive tune-in to the show itself, especially when the ads are personalized with local information for broadcast stations. In fact, a well-executed tune-in video ad campaign can yield about a 20% lift in viewer intent to watch a show, said Mixpo, an online video ad technology provider, which studied the effect of Web video ads on tune-in for TV shows in a white paper. Mixpo found that online video viewers spent 25% more time with tune-in video ads than non tune-in ads. The messaging can be even more effective when coupled with local station call letters or logos, which can drive engagement rates up to 27% higher and view rates for the tune-in ads up to 30% higher. Broadcasters surveyed said they’re including online video ads in their promotional mix for several reasons. They can reach multitaskers who are online while watching TV; the ads are interactive and can boost engagement; the creative can be updated in real time; and audiences can be targeted. Plus, 70% of tablet owners and 62% of smart phone owners use those devices while watching TV, according to Nielsen stats cited by Mixpo. That suggests online video tune-in ads can potentially reach viewers at just the right time. Mixpo also offered tips for broadcasters. “There’s freedom to swap in new creative around the clock to match the flow of program schedule with surgical precision. Produce an on-air spot a couple of hours before the 6 p.m. news. Run it online immediately. When the 6 p.m. news ends, immediately swap in a topical promotion for the 11 p.m. news,” Mixpo said in its report.
Following last week’s column, here are five more noteworthy series from 2011 that aren’t going to turn up on very many (if any) Top 10 lists. “The Glee Project” (Oxygen) -- After a really terrible second season, Fox’s once uplifting musical comedy “Glee” has almost flat-lined in its third year. What a waste. The only new life this year in this prematurely feeble franchise was its companion reality series on Oxygen, a bright and breezy competition program judged by “Glee” creator Ryan Murphy, among others. The grand prize was a seven-episode guest stint on the mother ship, but so many of the “Project” kids were so ingratiating that Murphy ended up offering extended roles on the show to four of them. Crazy as it sounds I think “Glee Project” could easily find a way to continue even if Fox pulls the plug on “Glee” in another year or two. “All in the Family” (TV Land and Antenna TV) -- The economy is in crisis. The nation is at war. The rich are getting richer at the expense of the working class. Inflation is soaring, unemployment lines are getting longer, the banks aren’t helping anyone, and Washington is a complete mess. Meanwhile, young people seem to be living in a world that is totally foreign to their parents’ generation. Those are the issues the Bunker family is coping with in the most topical situation comedy on television today: the surprisingly timeless ‘70s gem “All in the Family.” It’s so much more than “that show about the bigot,” as I have heard it described by many 20- and 30-something television critics and reporters who have never bothered to watch a single episode. (Shouldn’t that be a requirement?) It’s a show about all of us -- then, and unfortunately, now. The difference is, thanks to the Bunkers we could laugh at ourselves back then. “The Soup”/”Fashion Police” -- E! had the perfect Friday night comedy combo in “The Soup” and “Fashion Police,” so what did it do? Send new installments of “The Soup” off to Wednesday, that’s what. How the heck is a show supposed to recap events of the week when it debuts in the middle of the week? Ah, well, at least we still have a Friday night rerun. I’ve been raving about “The Soup” for so long that I have nothing new to say about it, except that I’m darn glad that Joel McHale stayed even after he landed a starring role on NBC’s brilliant but struggling “Community” three years ago. (I’m sure McHale is happy too, now that “Community” appears to be teetering on the brink of cancellation.) Meanwhile, my compliments to the crew on “Fashion Police” and especially its host, the indefatigable Joan Rivers, for lighting up Friday night with a half-hour of comedy that fits so well with the special brand of madness that McHale and his team have perfected over the years. “Attack of the Show” (G4) -- G4’s daily live comedy-information talk show “Attack of the Show” remains one of the liveliest and most engaging series on television despite a very modest budget and very limited resources. It’s a thoroughly engaging and unique blend of entertainment news, tech reviews, celebrity interviews and viral videos, delivered with a delightful nerdist humor that is impossible to resist. Shouldn’t MTV be doing something like this? As I’ve said many times before, the “AOTS” team does so much with so little it puts to shame the many television productions that do so little with so much. Give much of the credit to the effortless charm of co-hosts (and Comic-Con superstars) Kevin Pereira and Candace Bailey and “AOTS” contributors Alison Haislip, Blair Butler, Chris Gore, Chris Hardwick, Sara Jean Underwood and Blair Herter. “Pretty Little Liars” (ABC Family) -- What’s all this talk about serialized scripted series falling out of favor with television audiences? Don’t tell the millions of teenage girls and young women who can’t get enough of ABC Family’s contemporary dramas -- each one a serial that isn’t afraid to draw out storylines, tease its viewers and grow its cast with plenty of supporting characters to keep things fresh and interesting. There is no better example than ABC Family’s “Pretty Little Liars,” a mesmerizing mystery about four teenage girls haunted by intimate and potentially explosive messages seemingly sent from their dead frenemy. It continues to prove that a good mythology can keep even the increasingly fickle tween and teen audience enthralled.