Audience Trends.

Insight Trends.
Solution Trends.
Country-by-Country
Database
The TV Key Facts 2017 database is available on www.rtl-adconnect.com/tvkeyfacts

Once connected with your personal code, you will be In particular, it details the TV landscapes with do-
able to browse our exclusive country-by-country da- mestic and foreign channels, pay TV and digital TV
tabase which provides a detailed outline of the tele- as well as viewing patterns, differentiated audience
vision landscapes, market by market. figures and advertising expenditures, covering:

35 European countries
Austria, Belarus, Belgium, Bulgaria, Croatia, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Germany,
Greece, Hungary, Ireland, Italy, Latvia, Lithuania, Luxembourg, Macedonia, Netherlands, Norway, Poland, Portugal,
Romania, Russia, Serbia, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey, Ukraine, United Kingdom.

39
countries 4 overseas countries
India, China, Japan, United States.

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Table of
Contents
Insight Trends.

1. Country-by-Country Database

4. The Pioneering Spirit

Audience Measurement Is Catching Up
54. 
Guillaume de Posch & Bert Habets,
on TV Consumption Habits
Co-CEOs of RTL Group

Florent Carême,
8. Reach More with Total Video! Eurodata TV Worldwide
Stéphane Coruble, Managing Director of RTL AdConnect
60. The World of Television
Alain Beerens,
egta

Facts & Figures. 64. Focus.

Facts & Figures about
10. 2016 Facts & Figures
TV Effectiveness
14. 2016 World Viewing Time
16. European TV Viewing Time 70. Video Is Becoming Increasingly
& Technological Developments More Important to Children
Brigitte Bayer,
Mediengruppe RTL

Audience Trends.

73. Virtual Nannies,
Apps & Augmented Reality
International Trends 2016-17
21.  Rupert Schäfer,
Candice Alessandra, Eurodata TV Worldwide Nunatak Group

Interview.
28.  Everyday Heroes for Kids
78. 
Success Story: UFA
How Brands Become – and Stay – Rele-
Nico Hofmann, UFA Group vant
Cornelia Krebs,
37. Focus.
Mediengruppe RTL Deutschland

It’s True Even If It Never Happened
Carsten Göttel, SUPER RTL The Kids Are Alright: Millennial TV
84. 
Viewing Trends Might Be Getting Better
Entertainment Evolution: Online Screens, OTT and
40. 
Duncan Stewart,
New Technologies
Deloitte
Abed Laraqui, Eurodata TV Worldwide

47. MCN & Original Content

Siglinde Martínez, Eurodata TV Worldwide
 Solution Trends.
94.  The Rise Of Connected TV in Europe Leon Siotis, SpotX

98.  Marketing of Tomorrow: The Four Factors for Success Jens Pöppelmann, IP Deutschland

102. Interview. StyleHaul’s Data Ecosystem Stephanie Horbaczewski, StyleHaul

106. Focus. Facing GAFA Players, European Media Groups Form Data Alliances
RTL Deutschland, ProsiebenSat.1 and United Internet’s Log-In Alliance
Gravity, the French Data Alliance
General Data Protection Regulation (GDPR)

112. Interview. Addressable TV in Europe Thorsten Schütte-Gravelaar, smartclip

120. The Future of Connected Experiences Bianca Stockreiter, TRENDONE

122. The 4 Key Levers of Ad Quality Martin Bromfield, comScore

126. Focus. More Targeting Solutions

The “CAT” in the Cross-Media Jungle Elena Nigra, Rai Pubblicità
Behavioural Targeting at M6
Spott by Appiness & IP Belgium Ludovic de Barrau, RTL Belgium

Advertisers Case Studies.

134. Advertisers' Insights.
Bring Emotionality to a Technological Topic
Being Closer to People Is Paramount

136. Case studies.

When Lastminute.com Meets Talent Shows
Paypal Attracts Attention of Consumers with Telepromotion
Exclusive Concept to Boost Marc Cain's Image
Haier & Das perfekte Dinner: a Powerful Sponsorship

Key Tables. 150. Special Thanks

151. Imprint

140. Viewing Time 152. About RTL AdConnect
141. Digital TV 154. About RTL Group
142. Best Single Programme 2016
143. Best Recurrent Series 2016
144. TV Equipment
145. Multi-Screen Technology
146. Electronic Audience Measurement
148. Top Advertisers & Advertising Sectors
TV KEY FACTS 2017

2 
3
The Pioneering
Spirit
The TV industry is becoming more complex and increasingly fragmented.
With digitisation, consumer behaviour keeps on changing at a staggering
rate. That’s why maintaining RTL Group’s pioneering spirit is more
important now than ever before.

For most people, TV today still means the screen in number of digital studios and multi-platform
their living room. But the business model of TV, and the networks, we also produce and aggregate more and
wider industry behind it has moved on, and that more short-form content for platforms such as
definition of TV is no longer valid. Thinkbox, the UK’s YouTube and Facebook. To summarise all this:
television marketing body, defines TV nowadays as “the maximising the consumers’ attention to our broad
high quality, professionally-made, predo­ minantly variety of video offers, across all devices – this is
long-form, audio-visual shows we watch on any screen.” what we mean by Total Video.
But there is a wider and even easier definition. Here For example: With more than 238 million views,
at RTL Group, TV stands for ‘Total Video’. We offer 2.7 million shares and 230,000 interactions, the
free-TV and pay-TV channels; mainstream channels audition of 12 year-old Darci Lynne for America’s Got
and niche channels; online video in short and long Talent became the most-watched video on
form; traditional ad sales and tech-driven programmatic Facebook, reaching over 393 million people.
online advertising. Yet at the same time we have one Within 24 hours, the clip had already got more than
clear focus: video content. 100 million views. This demonstrates the opportunity
And with FremantleMedia, we produce high-end for content producers and owners to monetise their
dramas and big shows for all major free-TV channels, content on platforms such as Facebook.
pay-TV channels and streaming services such as In WPP’s most recent ranking, 'Top 100 Most Valua-
Netflix, Amazon Prime and Hulu. With our growing ble Global Brands', four of those in the top five
 Guillaume de Posch and Bert Habets,
positions are placing big bets on video: Amazon, Co-CEOs of RTL Group, have a clear
Google, Apple and Facebook. To work with, and yet strategy for the age of ‘Total Video’
compete with, the internet and tech giants of this
world, we need well-coordinated responses across
RTL Group. And this also means closer co-operation
between our business units. You could even go one
step further and say: we have to re-invent ourselves.
And this is true for all ‘traditional’ TV players.

“Follow consumers wherever

RTL AdConnect acts
they are” 
Creativity in programming is the essence of success in as a kind of ‘connecter’
our business. It is the starting point for everything we
within RTL Group,
do and it's what makes us stand out. Producing,
aggregating, distributing and monetising the best bringing together all of
content, across all formats and genres – that is our
our assets along the
successful business model. As the importance of exclu-
sive local content is growing, so do our opportunities.  > ‘Total Video’ value chain.
TV KEY FACTS 2017

4 
5
Having said that, leadership in creativity means continue to innovate, to reach as many viewers, users
allowing freedom to experiment, and not being and listeners as possible. Figures suggest that growth
afraid of failure. That is the culture we should foster. in the total video industry is mainly coming from
This also means we have to pull out all the stops to non-linear and streaming. This means a more complex
follow consumers wherever they are. The consumer value chain, with tech and big data playing a bigger
perspective should guide what we do, as has been role for all successful business models in the digital
the case in other industries for decades. Consumers media world. Therefore, investments in technology are
no longer mind where or how they watch our no longer a nice-to-have in our industry, but a must-
content, so why should we still draw strict lines have. There is a lot of potential in further expanding
between linear and non-linear, offline and online? and strengthening our data and technology-based
Undoubtedly, consumers are now more willing to pay competencies. Together with the very experienced
for their favourite video content in all markets. management teams of SpotX and Smartclip, we are
In recent weeks, both CBS and Disney announced to working on an ambitious growth plan for our ad-tech
enhance their direct-to-consumer businesses, businesses. This plan includes close collaboration
because “the media landscape is increasingly defined between SpotX and Smartclip, rolling out their
b y direct relationships between content solutions across our operations and scaling up the
creators and consumers” as Disney CEO Bob Iger business with further acquisitions and partnerships.
described. This is only the beginning of more
direct-to-consumer offers and we will be part of this The international ‘total video’
development. sales house
Nevertheless, advertising will remain our biggest reve- At RTL Group, the pioneering spirit has been part of
nue stream for many years to come. And we can the Group’s DNA ever since its creation: from our first
only carry on successfully selling advertising if we steps into radio back in the 1920s, to bringing moving
pictures to the screen in the living room and now –
finally – to catering for consumers on all platforms,
in all genres. Most of our programme spend is invested
in local productions, news, magazines and sports.
In total, RTL Group invests €2 billion in Europe’s
creative industries, every year.
Our advertising sales houses, and also RTL AdConnect,
are at the forefront of this development. Following a
comprehensive strategic review, IP Network rebranded
 t RTL Group,
A
to RTL AdConnect this summer. It is a gateway for
advertisers wishing to communicate outside their the pioneering
home territory and keen to benefit from local exper-
spirit has been
tise. The company’s USP encompasses incomparable
reach, international insights and advanced strategic part of the
advertising solutions.
Group’s DNA
At the same time, RTL AdConnect acts as a kind of
‘connecter’ within RTL Group, bringing together all of ever since its
our assets along the ‘Total Video’ value chain with
creation.
one dedicated purpose: to serve the needs of our
advertising clients. x
TV KEY FACTS 2017

6 
7
 Reach More with
Total Video!
The Total Video Key Facts brings guidance and expertise into the
international advertising world. More than ever, in a complex media
ecosystem, data and insight, latest trends and efficient and creative
solutions are crucial.

What astonishes me the most when I'm travelling in

Europe and around the world is that the world is be-
coming a global village. Just look at the very similar
selection of retailers and shops on high streets all
around the world. As a result of globalisation, you can
find your favourite stores everywhere you go, from Paris
to New York, Singapore to Berlin, London to Sydney.
As an international advertising sales house, we need to
take this trend into account and respond to global mar-
keting objectives and KPIs more than ever. On the other
hand, the world is not yet one giant common market-
place where all consumers live and act the same way.
For example, you might find it easier to roll out
a marketing plan in the US, but when it comes to
Europe, you’ll need to be more granular, to take into
account local customs and behaviour, local compe-
tition, local legislation, local media habits, and so on.
Moreover, it’s been proven that localised media plans
will guarantee success and efficiency in Europe.

Stéphane Coruble,
Managing Director What astonishes me the

most when I'm travelling
in Europe and around the
world is that the world is
becoming a global village.
 The Total Video Key Facts serves

as a tool, a guiding light in this
The combination of global objectives with local complex and sophisticated
insight and expertise is at the core of our DNA at
advertising world.
RTL AdConnect.
We combine our expertise across the different mar-
kets in which we operate, while providing scale, pre- Thanks to our portfolio of more than 100 TV chan-
mium content, technology, innovation, access to nels, 30 radio stations and 300 digital platforms, we
influencers and efficient advertising solutions to make reach 160 million consumers every day and accumu-
sure advertisers succeed in reaching their global or late more than 26 billion video views each month.
multi-local objectives. Our mission is to provide sim- Our Adtech partners help us to give advertisers sim-
plified access to a Total Video marketplace across plified access to premium content and facilitate the
12 territories and more. Thanks to our strong port- development of pan-European campaigns. This is also
folio of media partners and state-of-the-art ad the mission for this edition of Total Video Key Facts.
technology, we can offer advertisers self-served or
programmatic buying for our digital ecosystem. Audience Trends
The Audience Trends section highlights the challenges
The whole is greater than faced by today’s media players who are adapting to
the sum of its parts the viewer’s interests and demands. Content is essen-
The media industry has changed dramatically in the tial on linear TV, where producers and broadcasters
past decade. The ways to watch content using dif- invest in more qualitative and creative programmes.
ferent screens and players on the market has prolif- The same goes for multi-platform networks where
erated in recent years, leading to a very complex and influencers rule advertising. New consumption habits
fragmented media world. make it more and more challenging to reach Milleni-
To stand out from their competitors, advertisers als, which is why content creators are becoming an
need a clear and simplified solution: more transpar- asset in developing innovative solutions.
ency, efficiency, brand safety and trust.
A local advertiser looking to branch out in the global Insight Trends
market needs simplicity. Our role at RTL AdConnect The Insight Trends section covers new behaviours in
is to give a clear breakdown of how our group’s local viewing habits, audience measurement, ad invest-
knowledge and expertise can make an impact in this ments, screen technology (HD, VOD, and smart TV)
complex media market, as we strongly believe that and ad technology. The database linked to the mag-
“the whole is greater than the sum of its parts”. azine gathers information on 39 European countries
Our pledge at RTL AdConnect for added value is as well as United States, China, Japan and India.
based on three pillars: Audience, to represent the
power of our unique scale in Europe; Insight, to il- Solution Trends
lustrate our recognized expertise, studies and data In the Solution Trends section, you’ll get an inside
collected in each country, and Solution, to show how look at the most recent strategies and products
we engage our audiences with premium content in a developed by our industry to respond to advertiser’s
secured environment. needs. It explores the latest visions in targeting with
RTL AdConnect represents all of RTL Group’s media data collection, return on investments, effective-
partners and beyond (ITV, Rai, Medialaan). In an ness, simplification using programmatic buying and
environment where efficiency is a key factor, the brand safety.
decision-making process is shifting: sales are go- In collaboration with RTL Group and all our partners,
ing from local to global or vice versa, resulting in a the Total Video Key Facts serves as a tool, a guiding
“glocal” approach. light in this multifaceted advertising world. x
TV KEY FACTS 2017

8 
9
 2016 Facts
& Figures.

260 M
3h54* VIEWERS
watch TV during
2016 average viewing time in Europe, prime time in Europe
-1 minute vs 2015
Highest viewing time: Romania 5h29 Serbia 5h17 Hungary 4h42 Latest prime time in Greece and Spain (22:30),
earliest in Austria, Czech Republic, Denmark,
Biggest increases vs 2015: Slovenia +9 minutes (3h35) Hungary, Russia and Slovakia (20:45).
Austria +7 minutes (2h48) Belarus +7 minutes (3h53)

Biggest audiences 2016 around the world

158 M 113 M
viewers for the viewers for the
30M
viewers for the
Spring Festival Super Bowl Euro 2016 semifinal
on CCTV 1+3 on NBC Germany/France
in China in the USA on ZDF in Germany

Biggest share of time-shifted TV viewing

UK 13.8% Switzerland G. 13.4% Switzerland F. 13.3%

*
RTL AdConnect's own calculations.
Source: IHS Markit, EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
 Most watched movies
Number of times in the Top 10 cinema movies in 24 markets

Frozen Home Alone Qu’est-ce qu’on a fait au Bon Dieu ?

7x

4x 4x

Most popular entertainment shows

Number of times in the Top 20 Programmes

9x 7x 7x

Most popular series TV programme genres split

Tatort
in Europe

4x
Sports Entertainment

58.8% 18.1%
Camping Paradis, Castle,
3x Coronation Street, Criminal
Minds, Der Bergdoktor, Clem
Fiction Factual

80% omarkets
f the top series in 24
were local productions
13.3% 9.8%
TV KEY FACTS 2017

Source: IHS Markit, EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
10 
11
 2016 Facts
& Figures.

81.4% 87.7% 35.1%

of European of European TV Most of the digital
TV households households receive a TV households in Europe
own a HDTV digital TV signal receive their signal by
(even more than 90% in satellite
the EU)

Top 3 European audiences 2016

Football European Football European Football European

Championship Championship Championship
Germany/France Semifinal France/Portugal Final Germany/Italy
ZDF (Germany) M6 (France) Rai 1 (Italy)
Rating 39.8% Rating 36.0% Rating 28.3%
Share 80.3% Share 71.8% Share 66.%

Source: IHS Markit, EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
 169M+ 22.2 sec
TV spots were broadcast 2016 average spot length
in Europe in 2016 vs 99M in 2010 in Europe

Biggest Highest TV share in the media mix

panels
Bulgaria Croatia Hungary
(in households)

Italy 5 666
UK 5 100 93.0% 89.8% 83.5%
France 5 006

TV share Biggest TV Most

of media ad spenders advertised
expenditure in 32 markets sectors on TV
increased in in 32 markets

Food

17
of the European
Retail

Pharmaceuticals
TV markets
TV KEY FACTS 2017

Source: IHS Markit, EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
12 
13
 2016
World Viewing Time.
Europe*

3h54

North America Africa8

4h14 3h10
Universe 389M
Universe 85M
3 countries1
6 countries 3

South
America

3h44
Universe 150M
14 countries2

Canada, USA, Mexico; 2Argentinia, Brazil, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, Guatemala, Panama, Paraguay, Peru, Puerto Rico, Uruguay, Venezuela;
1

3
Cameroon, Ivory Coast, Senegal, Madagascar, Morocco, South Africa; 4Australia (Regional), New Zealand; 5Armenia, Bahrain, Egypt, Iraq, Israel, Jordan, Kazakhstan, Kuwait,
Lebanon, Oman, Qatar, Saudi Arabia, Syria, Turkey, United Arab Emirates; 6Bangladesh, China, India, Indonesia, Japan (Kansai, Kanto, Nagoya), Malaysia, Mongolia, Pakistan,
Philippines, Singapore, South Korea, Sri Lanka, Taiwan, Thailand, Vietnam; 7Including Hong Kong and Myanmar; 8Only South Africa and Morocco are measured on a people-meter
basis; 9Only Armenia, Azerbaijan, Israel, Lebanon and Turkey are measured on a people-meter basis. *RTL AdConnect's own calculations.
Source: EURODATA TV – One Television in the World 2017 issue – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
 Daily viewing time
World more than 4 hours
3 to 4 hours

3 00
h 2 to 3 hours
less than 2 hours
n.a.
Universe 3.9Bn
92 countries

Oceania

2 58 h
Universe 12M
2 countries 4

Asia7

2 29
h
Universe 2.5Bn
Middle East9 15 countries6

3h50
TV KEY FACTS 2017

Universe 160M
14 countries5

14 
15
 European TV Viewing Time
& Technological Developments.

3 h28

55.0%

2.8%

1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010

DVR Flat Screens HD TV Sets Blu-Ray XBox 360 iPhone Smart TVs
Discs Apple TV

Google Facebook YouTube Netflix Roku

Source: IHS Markit, local institues, viewing time for adults

 4 07
h Daily Viewing
Time

+39 min
vs 1996

87.9% 87.7% Digital TV

83.8%
81.1% 81.0% Flat Screen TV
76.2% 81.4%
72.7% 74.4% TV HD
72.5%
74.0% 75.5%
66.5% 73.7%
72.0%
68.6%
70.5% 62.6% Smartphone
70.8% 66.5%
59.0%
62.3%
60.2% 61.3%
60.0% DVD Player
55.9%
53.9%
53.4%

38.5% Tablet
43.5%

27.4% 31.1%
24.5% Connected TV
22.0%
29.3%
18.0% 22.0%
17.2% 24.2% Blu-Ray Player
22.1%
12.1%
9.2% 11.9%
7.1% 16.8%
14.2%

6.5%
2.7%

2011 2012 2013 2014 2015 2016

iPad Ultra HD TV Sets

XBox One
PS4
Chromecast
TV KEY FACTS 2017

Hulu Plus Snapchat Periscope

Instagram Amazon
Instant Video

16 
17
 Audience
Trends.
Today, content is watched in multiple forms: linear, non-linear,
big screens, small screens – the list goes on. The fact is, regardless
of the size or format, screens are still inspiring worldwide audiences.
And it’s all about the content!

The worldwide viewing time for linear TV storytelling, evoking emotions, enter-
is far ahead of other screens, and is still taining, and informing the audience. No
ranked the second best leisure activity media other than total video is as effec-
after sleeping. With a daily worldwide tive in bringing out powerful emotions.
viewing time of 3 hours, TV stands its The sports, fiction, and factual genres
ground as the most consumed media. are the most watched in the world, and
As Duncan Stewart from Deloitte explains, live programmes are still on top of the
social media is dramatically increasing programme rankings.
among the young target groups: “As of Local fictions are also tremendously suc-
December 2016, over 60 % of US 18- to cessful. Nico Hofmann, head of the pro-
34-year olds were on Snapchat, over duction company UFA, explained that
75% were on Instagram, and 95 % were the key to fiction success is “to be au-
on Facebook.” Yet, their social media thentic, unique and new”.
Carine Jean-Jean consumption is far behind linear TV Even if TV narratives are historical, in-
Communications Director consumption: ”Daily use of each plat- volving the audience in the casting, sto-
form averaged 14 minutes, 13 minutes rytelling and directing is a key strategy
and over 30 minutes, respectively … to reach younger target groups.
meaning between the three, total daily The search for more authenticity is re-
social media approaches one hour." inforced by Médiamétrie’s programme
Often said to be a dying medium, TV trends survey. The key take away words
continues to thrive as a media leader, de- are: “understanding another's reality, the
spite an important part of TV consump- importance of family bonds, and playing
tion mea­su­rement still being lost in the with space and time”. Of course, some
mix: content viewed on online screens. kinks still need to be sorted out con-
The ongoing success behind linear cerning the measurement and mon-
and non-linear formats, and influenc- etisation of TV. But one thing is cer-
ers on YouTube, lies in their talent for tain: Total Video is king! x
 TV KEY FACTS 2017

La France a un Incroyable Talent

M6, France

18 
19
13 Reasons Why
Netflix
 International Trends
2016-17
During the 2016-17 season, more than 7,500 new programmes were
launched in the 50 countries covered by NoTa. Factual and fictional
genres remain the key groups when it comes to new launches.

Most of these new launches are original creations,

but there are features in each genre which are worth
mentioning. Indeed, scripted content is mostly im-
ported, whereas unscripted programmes are main-
ly original creations. The amount of adaptation in
entertainment is quite significant between fictional
and factual narratives. Both in TV

Last season, people and characters questioned
programmes
themselves in several ways, and the trend followed
into this season too. However, this season delves into and online
the multiple sides of reality. Both in TV programmes
creations,
and online creations, broadcasters and producers
seek to evoke the world we live in. broadcasters
Candice Alessandra Some decide to portray our present real-
and producers
Media Consultant ity in a frank and open way so that view-
ers are confronted with it, while others pre- seek to evoke
fer to escape reality to better relate to it.
the world we
As authenticity was one of the key words at the last
MIPTV, playing with space and time was also high- live in.
lighted, especially with virtual reality. In the end, the
aim is the same: people and characters try to build
bonds to face their lives and the tough world we ex-
perience. It brings families from all walks of life to-
gether. >
TV KEY FACTS 2017

20 
21
 7,500 new programmes launched in 2016-17
Adaptation Finished programme Original format

3%
60%
37%

24%

Entertainment
16%
18.6%

Factual
40.8%

47% 60%

Fiction
40.6%

2%

51%

Source: Eurodata TV Worldwide / NoTa / – All rights reserved.

Facing authenticity
Authenticity Teaming reality with authenticity often promotes
sensitive topics. This season saw an increasing num-
in new programmes
ber of factual docu-series as well as fictional trends
is not only about fear involving military and terrorism.
Viewers want to make sense of the current conflicts
and news headlines.
and the “who’s who” on all sides. In the Flemish
It’s also at the core documentary, Is In Het Vizier launched on Canvas,
journalist Rudi Vranckx braves the ISIS front lines
of shows in which
and questions soldiers as well as ex-jihadists, cyber
people are trying to analysts and civilians. War Watchers, the American
documentary project, is digging even deeper by con-
understand each other.
fronting war tourism. On the fictional side, Turkey de-
velops numerous series about terrorism such as The
Oath, where a special unit is created to stop terror
attacks in the country. Distributed by Global Agency,
 Facing authenticity

The Oath
Star, Turkey +60%*
Distributor: Global Agency
April 2017
5+, 6 episodes

Rich House, Poor House

Channel 5, UK x2.5*
Distributor: Hat Trick Productions
March 2017
16-34, 4 episodes

The Bridge
Movistar, Spain
Distributor: Endemol Shine Group
May 2017

*Rating evolution vs regular time slot. Source: Eurodata TV Worldwide / NoTa / Relevant partners – All rights reserved.

the 13-episode series performed very well with young channel slot average by 2.5. Understanding and
adults. Other territories delve into this trend even if group trust is the idea behind the Spanish reality
they are far from the front such as the Danish series show, The Bridge.
Below the Surface, which tells the story of 15 hostag- Distributed by Endemol Shine Group, the reality show
es in captivity underground. sees participants working together to achieve one
Authenticity in new programmes is not only about common goal, building a bridge to find a treasure.
fear and news headlines. It’s also at the core of But there’s a twist: there’s no elimination, no real
shows in which people are trying to understand competition. Participants decide who wins the treas-
each other. The Netflix hit fiction series, 13 Reasons ure, and the winner decides if he/she wants to share
Why, about an American high school girl who com- it or not, with some people or everyone.
mits suicide, has created a buzz in the media and
on social networks. On the unscripted side, and with Playing with space and time
a lighter tone, the British reality show Rich House, Portraying the present reality is a complex feat.
Poor House, follows families from different social Seve­ral producers and broadcasters prefer to do it
classes after they swap lives. The 4-part series was from another angle, basing their programmes on the
especially a hit with young adults, multiplying the past or in a not too distant future. >
TV KEY FACTS 2017

22 
23
The Orville
Fox, USA

Particularly this season, plots and concepts played adapted in countries such as Germany, Finland, Bra-
with space and time. Several elements are muddled zil and Russia. Following the trend, the British dating
to confuse people and characters, in genres across show Game of Clones involved a bachelor having the
the board! choice between several admirers who are dressed
In the Norwegian game show, Lost in Time, broad- and made up to look the same. The format has been
cast on TV Norge, contestants are transported into adapted for the French young adults channel NRJ12.
different eras, thanks to interactive mixed reality Fiction-wise, several series are also playing with time
(IMR) technology, to face challenges and win a and space concepts. The French mini-series, Beyond
cash prize. Despite some technical issues during the the Walls, from Arte, immerses viewers in the journey
first two episodes, the results among young adults of a young woman in a labyrinthine, parallel world
were in line with the channel’s slot average. hidden in an abandoned house she inherits from
In September 2016, Talpa launched the pilot The Story a complete stranger. Another season hit from the
of My Life. Broadcast on the Dutch channel RTL4, American Cable channel HBO, Westworld has to be
the talk show sees a couple of celebrities purposely mentioned in this category. Set in a high-tech Wild
made to look aged with makeup. After a convinc- West park populated by android hosts, every day re-
ing broadcast, the format has been bought to be starts all over again, at least at the beginning.
 Playing with space and time

Game of Clones
E4, UK
Distributor:
The Story Lab
February 2017

Westworld
HBO, USA x5.4%*
Distributor: HBO
October 2016
18-34, 10 episodes

Transfer
Arte, France
Distributor: Lagardère Studios Distribution
Coming up

*Rating evolution vs regular time slot. Source: Eurodata TV Worldwide / NoTa / Relevant partners – All rights reserved.

In the same vein, the upcoming French mini-series,

Transfer, imagines the future of science, in which
it’s possible to transfer minds from one body to an-
other. In a more light-hearted mood, The Orville,
which is set to launch in fall 2017 on the US channel
Sometimes, people decide
FOX, centres on a not so top-of-the-line explorato- 
ry ship in Earth’s interstellar fleet, 300 years in the to confront the reality with
future.
a new family, a family
Gathering with a family they’ve chosen themselves.
Whether these characters want to confront reality by
looking for authenticity, or by trying to understand
each other, or even by escaping to another space
and time, this season proves that getting together
with family and loved ones builds bonds to help face
reality and life together. >
TV KEY FACTS 2017

24 
25
 Access to a unique volume
of TV and Online data

110+
Territories covered
>3.7 BILLION
Potential viewers

7000+ Channels
in our database

WORLDWIDE CONTENT
AND AUDIENCE INSIGHTS
Eurodata TV Worldwide is the specialist of international TV markets and the
unique provider of official TV ratings of 7,000+ channels in more than 110
territories. Eurodata TV Worldwide tracks and monitors the latest TV and
online contents and gives insight analyses based on global expertise.

Contact: Sales Team

Tel: +33 (0)1 47 58 97 57
Email: eurodatatv@eurodatatv.com

w w w.e u r o d a t a t v.c o m
One of the best examples of this trend this season around the globe with one main thread: building
is the American hit series, This Is Us. Launched on a family and protecting it in a dangerous environ-
NBC in September 2016, the series follows three ment. Sometimes, people decide to confront the
siblings throughout three different times in their reality with a new family, a family they’ve chosen
lives: birth, childhood and present day. For 18 epi- themselves. In Flemish Belgium, VTM launched Ami-
sodes, viewers follow the evolution and unforeseen go’s in January 2017, a humorous series about five
developments the families go through, and how ex-prisoners who try to start a better life by setting
events from the past affect their beliefs and ac- up a restaurant. Jumping on the bandwagon, com-
tions in the present. On the factual side, and also petitor public channel, Eén, will launch the series
a worldwide hit this season, is the documentary Tytgat Chocolat, a combination of a road trip and
Planet Earth II. a love story about a group of mentally challenged
In the BBC hit series narrated by Sir David workers at a Flemish chocolate company. x
Attenborough, viewers watch a string of episodes,
Source: Médiamétrie / Eurodata TV Worldwide / NoTa International TV Trends
featuring different kinds of animals and habitats 2016-2017 / Relevant Partners

Gathering with a family

This is Us
NBC, USA +130%*
Distributor: 20 Century Fox
th

Television Distribution
September 2016
18-49, 18 episodes

Planet Earth II
BBC One,
UK/USA/France/China/Germany
+87%*
Distributor: BBC Worldwide
November 2016
4+, 6 episodes

Tytgat Chocolat
Eén, Belgium
Distributor: Flanders Image
Coming Up
TV KEY FACTS 2017

*Rating evolution vs regular time slot. Source: Eurodata TV Worldwide / NoTa / Relevant partners – All rights reserved.

26 
27
 Interview.

Success Story:
UFA
Interview with Nico Hofmann, CEO of UFA, to learn how a very strong
local production company like UFA managed to become a successful
international company.

What has been your biggest

international success so far?
I would definitely say the two TV series that both
received the international Emmy award. The first
really big success was Generation War, a WWII sto-
ry basically about my own father and what hap-
pened during the war to that generation. It was
a very controversial film, not only in Germany but
worldwide. A lot of topics, feelings and emotions
came to the surface from a generation which is
now 90-95 years old. Another big success was sure-
ly Deutschland 83; other than winning the inter-
national Emmy, it was also seen in more than 110
countries around the world, and a huge hit in the
UK on Channel 4.

Where do you get your inspiration from?

First I was a director and now I've been a producer for
almost 20 years. Most of my films in these years are
based on factual German History; about WWII,
Nico Hofmann
but also about the reunification of the Eastern
CEO
part of Germany. It was really a decade of big
interest for the audience that has to do with
a long search of German identity. >
 We called it cinema
for the big screen on
television: so the
production value
was very high
because they
were TV
events as
cinema
pieces.

TV KEY FACTS 2017

Deutschland 83

28 
29
So there was a huge appetite on the viewers’ side to German TV, then working all around the world, near-
watch these films, but at the end of the day, it was ly everywhere. Florian Cossen, who’s one of the di-
really a personal approach, taken from my own fam- rectors of Deutschland 86, for example, has done a
ily history. I was always having big debates with my huge and successful co-production about the NSU
parents about their lives in the Third Reich but also last year. The younger generation is building up their
the aftermath of the Third Reich; how they came own style and bringing fresh ideas. My hope is that
back to somewhat of a normal life in a democrat- we get an individual style with different directors
ic country. It really opened up a market. We called and show runners, but not by individual country.
it cinema for the big screen on television. The pro-
duction value was very high because they were TV
How do you explain the success in the US?
events as cinema pieces. In the last three years, we
really opened it up even more internationally, which I’m sure it has to do with the way it’s written. You can
we saw with the success of Deutschland 83. feel the difference in the style: it’s totally focusing on
The show was written by an American writer, Anna the creativity of Anna Winger, the creator and head
Winger, and it’s a different style, very international, writer of the series. She brought her own touch to the
not typically German. The historical topics were the production, her way of telling German history. Some-
same but the angle was much more ironic, fresher and times the German way can be didactic; everything is
edgier. That’s why we continue working in cooperation based on true stories and facts. Here it’s very ironic
with Fremantle, Amazon and RTL; sharing a big plat- and humorous, which is not typically German.
form market with RTL is a unique opportunity for us.

Do you feel that you have a duty to

Is there a German touch in storytelling? younger generations?
There are really no boundaries now. People are Yes, I’m absolutely sure we’re doing that and I’m very
coming from German film schools and working for proud of it. Our films are used in more or less 80% of
 Generation War

the programmes in high schools. Of course it’s very

controversial as many historical topics are, you never
have one agreed opinion amongst historians. What
we have learned is that you always have a very per-
sonal viewpoint to talk about History. Yet or prob-
ably because of the controversy, our programmes
were very successful, like the bombing of Dresden or
the event movie about the refugees coming from
the Eastern part of Germany in the end of WWII.
Both programmes had about 40–50 million viewers,
more or less everybody in Germany saw it. I think
we speeded up the progress about German identity
The most important rule is
in the past few years speaking about it frankly. For
me it’s a very positive outcome with an enormous that it has to be authentic,
impact.
unique and new.

Is fiction the main vector to talk about

history?
Firstly, I think you have much more freedom in sto-
rytelling. Nevertheless, the historical research is a big
part of the writing and very detailed and precise. It is
coming directly from authentic historical data, and
is quite close to what really happened. We also have
historians, who are working together with us. >
TV KEY FACTS 2017

30 
31
 My hope is that we get an
individual style with different
directors and showrunners,
but not by individual country.

Charité
But you have a much more complex structure; if younger generation actively involved; young cast,
you have, for example, an 8 or 10 part mini-series, young storytelling and young directors on the show,
which is what we do now with Deutschland 86 and e.g. from the film schools. We recently had a lot of
Deutschland 89, at the end of the day we’ll have 20 success on the second public channel ZDF about a
more episodes to tell the story. It’s fascinating how dancing school in Berlin called Ku'damm 56, set in
deep you can delve into the characters and German the 1950s. It was a huge hit as well on the media
History, but also world History. page and platform. We really got the target group,
We’re telling the story throughout the Cold War, the even the 15 and 20 years old, because it had a very
fall of the Berlin wall. There are so many elements to young cast and was done in a very modern way.
talk about from 1983–1989, it’s fascinating. You can
build up much more complex characters, and people
Do you develop new concepts for the
love to watch it. There’s a huge difference between a
international market?
big fiction show and a documentary on German TV.
The big fiction shows are drawing three times more That’s the most exciting prospect at the moment.
viewers than the documentaries, based on so much I just saw what's in the pipeline for the next 5 years
more material and, of course, you need much more and I strongly support how Cecile Frot-Coutaz is
money to produce it. pushing the fiction market, which is growing stronger
and stronger. It’s something that Fremantle is really
powerful at right now. They had such a big success
Do you write with a specific target group
with Young Pope and American Gods and also with
in mind?
our production Deutschland 83. I’m pretty sure that
Yes, we really talk about who we want to reach each the American platforms will turn out more heavily in
and every time before we start the production: is the next five years than they do at the moment. So,
it for a certain platform or for a very young audi- the whole fiction strategy is a huge perspective for
ence, are we trying to get the biggest audience in me. I feel greatly supported in the group, with my
the evening programme? It’s a crucial discussion to own material, and that gives me a lot of hope.
have; we want to be very clear and focused about
our target group. We had a very huge success a few
What's the biggest challenge
weeks ago with our mini-series Charité, about a big
for the future?
hospital in Berlin that drew in more than 7 million
viewers. It was produced for that exact purpose, to The biggest challenge is really to have the best crea-
get a mass audience in the evening. tive people on board. It’s all about content and cre-
ativity. I see a lot of younger start-ups coming with
fresh money, and the Americans doing the same
How do you adapt to the new way of
thing in Germany with younger start-ups. It’s our
consuming video content?
major goal for UFA, but especially at Bertelsmann
In Germany, people can have the choice between 120 and RTL Group we have to get the most creative
programmes every night, so they have a distinct de- people and exciting talents to come to us in order to
cision to make about what they want to watch. But survive the next 10 years. The other thing is to have
there’s a very clear rule recently: they are only inter- a clear distinction about what we can produce for
ested if it’s authentic, unique and new. If they have platforms, for bigger channels, and where audience
the feeling that they’ve seen it before, they’ll switch trends are going. So the debate is much deeper and
it off. So you have to bring really fresh new ideas. The more complex than ever before. x
other thing we noticed is that it’s helpful to get the
TV KEY FACTS 2017

32 
33
 Ku'damm 56

35
TV KEY FACTS 2017

34 
Titanic
20th Century Fox
 Focus.

It’s True Even If It

Never Happened
On Cult classics, myths and true success

Star Wars, Harry Potter, The Lord of the Rings, Titanic, Pretty Woman,
The Matrix – these are all cult films and box office hits, which are sure to
outlive contemporary fads. They belong to the collective consciousness of
entire generations. They frequently involve totally complex stories whose
meanings simply escape us at first glance. Still, they fascinate us. Is
there something that they all have in common? Yes!

The monomyth
”Though this
In all of these films, the story involves the big pic- 
ture, or the profound; fundamental, universal ideas be madness,
that stay with us our entire lives. When these recur-
yet there is
rent patterns of our experience are processed into
narratives, they become mythical tales. They tend method in’t“
to follow a certain scheme, according to the my-
Hamlet,
thologist Joseph Campbell. It is the so-called hero’s
journey or “monomyth”, a basic pattern which he Shakespeare
deciphered after analysing thousands of historical
myths. Campbell‘s classic model has since become
a blueprint used by scriptwriters and fiction authors
alike; a manual for good storytelling. It’s composed
Carsten Göttel of three acts, which comprise twelve chapters, in a
Programme Director strict systematic scheme, revolving around the cen-
tral figure.
Let’s now apply this method to cult classics to find
out whether they too follow Campbell’s hero’s jour-
ney. But let’s not be too pedantic. We’ll focus only on
the three central acts and emphasize the parts that
are representative of the whole. >
TV KEY FACTS 2017

36 
37
1. The departure “I'm
 trying to free your
Mythological tales always begin in the hero’s home-
mind, Neo. But I can only
land, often a place that evokes longing. We might
think of the Shire, the idyllic home of the Hobbits. show you the door.
But in The Lord of the Rings, and many other classics,
You're the one that has to
the characters abandon their comfort zone. Why is
it that all of the protagonists in the cult classics do walk through it.”
this? It’s the call to adventure, with all its seduction
Morpheus, The Matrix
and fantasy. It can be symbolised by an invitation, as
received by Harry Potter from the Hogwarts School
of Witchcraft and Wizardry, or a call for help as re- The mentor
ceived by Luke Skywalker in Star Wars. Sometimes In the departure phase, the hero may initially refuse
the hero’s destiny leaves no choice. Consider Peter to yield to his or her fateful calling. It’s then that a
Parker, who, as Spiderman, is forced into an adven- mentor appears to give the decisive nudge needed
ture by a spider’s bite. In Pretty Woman, the filthy to undertake such a daring adventure. These are
rich Edward meets the hooker Vivian, who shows him mentors like Dumbledore in Harry Potter or Gan-
the way to his hotel. In this case, they both end up dalf in The Lord of the Rings. Luke Skywalker in Star
gaining insight into a totally new world. These en- Wars is shown how to exploit the powers of the force
counters evoke the call to adventure. by Yoda. The hotel director in Pretty Woman helps

Harry Potter
Vivian out with the right outfits and also instructs battle. Or, simply consider the rebellious gestures of
her in proper table etiquette. Rose in Titanic. She hides from her fiancé and in-
Thanks to the mentor’s impetus, our hero ultimately stead accepts Jack’s gift, which symbolises her new
and irrevocably embarks into the world, and an un- independence.
certain future.
3. The homecoming
2. The journey: no pain, no gain In Pretty Woman, Vivian, fully transformed, continues
On the journey to a new world, there are unanticipat- her bourgeois existence; she ends up going back to
ed visitors. New enemies appear, but also new friends. university and starts a new life. Luke Skywalker is vic-
In Harry Potter, Hermione and Ron are at Harry’s torious in the decisive battle in Stars Wars, when he
side. In The Lord of the Rings, Frodo can count on his destroys the death star. Afterwards, he returns home
fellow hobbits Sam, Pippin and Merry. In Star Wars, to join up with Jedi Knights.
Luke Skywalker meets Han Solo and Chewbacca. In the course of their travels filled with trials and tribu-
A host of characters teach our cinema heroes the lations, our heroes grow up. They are transformed from
rules of the world. It’s at the very pinnacle of their creatures of dependency to self-reliant forgers of their
journeys that they then plunge into some dark abyss, own destinies. Their final task is to pass on their new
where a decisive battle awaits them. Armed with wisdom; they must now take on a new role of responsi-
newfound experience and resourcefulness, they may bility, and with that the hero’s journey is over.
prevail.
The protagonist is face-to-face with a seemingly in-
vincible foe. But somehow, by reaching deep inside,
“Where are we
some unexpected source of strength is found to 
combat his or her fear. Frequently, this is symbolised really going?
as the greatest inner fear that has been harbored
Always home.”
for a lifetime. For Luke Skywalker’s legendary bat-
tle with his father, Darth Vader, Luke is also battling Novalis
with himself. It’s an interior battle as well as exterior

Upshot
Cult cinema and box office hits all operate according
to the same methodology. As different as these stories
"The cave which
 appear on the surface, they are based on the scheme
you fear to enter of the hero’s journey, or monomyth, as coined by
Joseph Campbell. Existing beyond space and time,
holds the
these mythical stories are fictitious yet true – the
treasure you “forever-always there”, as Thomas Mann so aptly
called it. Ultimately, the hero’s three-act epic of de-
seek."
parture, journey and homecoming is a reflection of
Joseph Campbell life itself.   x
TV KEY FACTS 2017

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39
 Entertainment Evolution:
Online Screens, OTT
and New Technologies
Four-screen measurement started in September 2016 in France on the
main channels, and it's already had a strong impact on the viewing
figures, especially for the channels watched by younger viewers.

Among the channels whose online screen ratings

were measured, W9 has boosted its entertainment
show audiences – the most thanks to tablets, com-
puters and smartphones. This viewing behaviour is
completely in line with the channel’s audience pro- The online

file, which is younger than the other channels stud-
screen that’s
ied in the report.
Additionally, when looking at the programmes that most often
have the biggest online screen audience, it’s interesting
used for TV
to note that they also have a large proportion of young
viewers. This suggests a strong correlation between the viewing is
results of online screens and the number of young adult
the computer.
viewers.
Abed Laraqui Les Princes de l’Amour, the second best programme
International Research in terms of additional viewers on the 3 online screens,
Manager also has the biggest proportion of 15- to 24-year olds
in its TV audience. Overall, W9 is leading the way with
Les Marseillais et les Chtis vs. le Reste du Monde in the
top two slots. The show gains 257,000 viewers on aver-
age on other screens. Coming in third is the local ad-
aptation of Married at First Sight on M6.
Overall, regarding the split by screen, the online
screen that’s most often used for TV viewing is the
computer. Among the studied channels, it represents
almost half of the total online viewing. >
 Entertainment additional
viewing on other screens vs TV
Prime time only

+22%

+5%

+2%

+2%

+1%

+1%

+0%

Sources: Médiamétrie / Médiamat – September

2016 – February 2017 

TV KEY FACTS 2017

Mariés au Premier Regard

M6, France

40 
41
 Top programmes on the 3 online screens
3 screens average contribution

+257,000 viewers +180,000 viewers +142,000 viewers

+27% +28% +4%

Sources: Médiamétrie / Médiamat – September 2016 – February 2017.

However, on channels that attract young viewers, programmes. Channels and producers created addi-
the smartphone takes the lead. For instance, on W9, tional content on other platforms based on the main
smartphones have the upper hand, representing al- programme: mobile games, online or social media
most half of the total online screen viewing. companion shows. The idea behind this supple-
mentary content was to boost the programme and
The increasing importance of strengthen the original broadcast; it wasn’t includ-
online screens in unscripted ed in the show’s original structure. Then, new tech-
content nologies came in handy by immersing the viewer in
At the beginning, online screens were used to em- the main programme thanks to live streaming and
phasise the reach of traditional, linear entertainment VR experience. The next step is to use all of these

The Stream gives musicians a chance to be

discovered through the internet and social media
by getting participants to upload their videos to an
online platform. Viewers then share and stream the
performer's music, with the top 100 most streamed
musicians then being invited to perform in front of
a panel of music industry experts. When the artists
have been signed, they compete in a weekly live
show, with the most streamed artists staying in the
competition and the least streamed risking eviction.
 3 screen distribution in prime time's
entertainment viewing
Studied channels

Smartphone

28.9% 48.8%
Tablet

21.3% 22.5%

Computer

49.7% 28.6%

technologies and platforms to create global con- viewing is up 10.3% from last year on Hulu and up
cepts across the board. The number of programmes 28.3% on Netflix – making reality one of the fastest
following this strategy is on the rise. rising genres for the two services. It’s also interest-
In fact, new shows like All Against 1 (DR1, Denmark) ing to note that while Netflix and Amazon orig-
have already kicked off the trend of using online inated from scripted content, Apple Music – which
screens. The show’s multi-screen mechanism is quite announced two entertainment shows, Carpool
basic and was a huge success with the audience. The Karaoke and Planet of the Apps – directly broke into
potential for TV multi-screen and cutting-edge tech- the entertainment market. This is a logical strate-
nologies is limitless, and the latest programmes are gy, as the music world and the entertainment world
jumping on board with these possibilities. have strong ties. x
Another notable platform is The Stream, which was
Médiamétrie / Médiamat – September 2016 – February 2017 – All rights reserved.
a huge success in 2016 in Norway on TV2.

The rising stars

of entertainment
While TV teams up with tech firms, OTT platforms
are the new trend and have recently started to
broadcast entertainment shows. Chinese platforms While TV teams up with tech

are way ahead of the game on that matter, but US
firms, OTT platforms are the new
platforms only recently tapped into it. After produc-
ing scripted series and then documentaries, they trend and have recently started
enlarged the spectrum of streamed genres to offer
to broadcast entertainment
entertainment programming. According to 7PARK
DATA’s newest study of OTT viewership, reality TV shows.
TV KEY FACTS 2017

42 
43
 TV KEY FACTS 2017

Secret Story
Plug RTL, Belgium

44 
45
Golden Moustache
 MPN
& Original Content
The growth in audiovisual crowdsourcing content – calling for ideas from
a crowd of people (YouTubers) – has never been as evident as it is today.
With millions of subscribers and viewers per month, YouTube channels
have started to play a key role in the audiovisual market.

The growth in audiovisual crowdsourcing content –

calling for ideas from a crowd of people (YouTubers) –
has never been as evident as it is today. With millions
of subscribers and viewers per month, YouTube chan-
nels have started to play a key role in the audiovis-
ual market. YouTube videos are versatile, flexible and
have a big advantage: they can be produced at a
Some MPNs
low cost and create a big impact. Moreover, they can
be launched to test the audience’s response and re- have moved
launched if they’re successful.
towards being
As this content can be customizable, marketers have
seen a tremendous opportunity for their brands and digital-first
are considering innovative ways to work with You-
production
Siglinde Martínez Tube celebrities. In general, Multi-Platform Networks
Media Consultant (MPNs) are the main intermediary between influenc- companies.
ers and brands. These MPNs have a pool of YouTube
channels from which marketers can select the best
influencer that matches their brands’ DNA to pro-
duce branded content. Among the most important
MPNs are Awesomeness TV (acquired by Dream-
Works Animation), Fullscreen (owned by Otter Me-
dia – a joint venture between AT&T and The Chernin
Group), Maker Studio (acquired by The Walt Disney
Company), among others. >
TV KEY FACTS 2017

46 
47
 To compete with these big MPNs, other companies
have started to specialize in niche markets to offer
expertise and to help brands fine-tune their research.
This is the case for MPN Machinima (owned by Warner
Brothers) which is specialized in video games, or
StyleHaul (owned by RTL Group) whose YouTube
channel catalog is specialized in fashion, beauty and
lifestyle.
However, branded content has started to be avail-
able beyond YouTube and has also moved to Face-
book, Instagram, Snapchat, Twitter, among other
“off YouTube” social media sites. Some MPNs have
moved towards being not only an intermediary be-
tween YouTube influencers and brands, but also dig-
ital-first production companies. Awesomeness TV’s
MiTú Network’s reach business model, which – besides being an intermedi-
ary – set up an entire team to produce original con-
has become such a success
tent to match brands’ DNA, and other niche MPNs
that the platform even such as MiTú Network have followed suit.

became a political tool by

Brands & MPN: joining forces
launching the multi- MiTú Network is a MPN especially focused on tar-
geting millennial Latinos living in the US – who are
platform campaign TACO
now becoming billennials (bilingual-millennials) –
(Take Action, Commit with more than 6,000 video creators and 2 billion
accumulated video views each month on YouTube.
Others) in May 2016.
It offers brand-funded content exploiting its already
well-established digital media brand. Knowing that
Hispanic billennials have a strong desire to keep in
touch with their cultural background, MiTú Network

Multi-Platform Networks (MPNs)

Generalist MPNs Specialized MPNs
Latino Animation Video Games

Food Sports Mode

 A standard business model
MPNs are
more than
intermediaries,
and have expanded
to become also
talent networks,
content producers
and marketing
advisers. In this
model, YouTubers Influencers Advertisers
and brands are in
contact through a
MPN.

Multi-Platform Networks (MPNs)

Intermediaries + Talent networks + Content producers + Marketing advisers

has taken advantage of this by producing original Commit Others) in May 2016. This political campaign,
content which Latinos can identify with. Brands such whose content gained around 75 million media im-
as MLB (Major League Baseball), whose aim is to at- pressions, involved original content, apps and chal-
tract young multicultural Latinos for its February 2017 lenges to mobilise the Latino millennial vote. More
season, spotted this opportunity and sealed a crea- recently, in November 2016 the former President of
tive partnership to produce “Always On”, a campaign the United States, Barack Obama, and the actress
built to generate original content around the base- Gina Rodriguez, partnered with MiTú Network to em-
ball season. Producing around 300 pieces of content power the Latino vote for the 2017 elections.
every week, MiTú Network’s impact on the Latino Another important MPN targeting Latinos in the
community is important: not only do these pieces of United States is Univision Creator Network (UCN).
content evoke childhood memories and grandma’s Since the beginning, Univision production facilities
sayings, they also make viewers discover other Lati- and media resources in Los Angeles and New York
no expressions and share them with non-Latinos by have helped UCN to advance. This has not only at-
translating them into English. tracted influencers, who eagerly wanted to join UCN
MiTú Network’s reach has become such that the to increase their value and visibility, but also brands
platform even became a political tool by launching such as Kia, AT&T, P&G, Target and Honda, who
the multi-platform campaign TACO (Take Action, wanted to produce branded content. >
TV KEY FACTS 2017

48 
49
 It seems that MPNs
are no longer merely
intermediaries,
but rather talent
networks, content
producers and
marketing advisers.

The McClure Twins

Honda produced with Flama (a communication divi- – acquired by Google – which are also known as So-
sion of Univision) The Tamal Taste Race, a video lasting cial Influencer Networks.
6 minutes with the influencer Josh Leyva in pursuit of These new web-based marketplaces have a fresh
finding the best Tamale in Los Angeles. advantage which is that they consider “long- and
mid-tail creators”, allowing marketers to look for
Social influencer network new emerging talent that matches their brands’
As marketers get used to this new ecosystem, they DNA, and not only going after the well-established
need more direct contact with YouTubers, without influencers. This again shows that the desire for You-
limiting themselves to the affiliates of only one MPN. Tube content is real; it’s transforming the strategy of
Brands that look for simple agreements with influ- media companies who are now taking this disrup-
encers can contact them via web-based marketplac- tive pattern and transforming it into a new business
es like Reelio, Content BLVD, Revfluence or Famebitt model. x

A new business model

Web-based marketplaces known as Social Influencer Networks. These platforms allow a simpler and more direct
agreement between the YouTuber and the brand, without limiting themselves to only one MPN affiliation. (A kind of
talent pool of Youtubers that can be contacted directly. No need to discuss with the intermediary, the MPN.)

Unlimited Talent Networks Branded Content Producer

Advertisers

Social Influencer Network

TV KEY FACTS 2017

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 Insight
Trends.
In a Total Video world, advertisers have to take investment decisions
based on ever changing advertising possibilities, as well as “alternative
and competing” truths in media research and measurement.
Which figures are “the truth”, which are just “fake truths” and how can
advertisers navigate their messages to their prospective customers?
In the end, they ask themselves: where can stability be found on which
to base effective and efficient media plans?

With the keen insight from contribu- Television remains the gravitational
tors in this TV Key Facts issue, adver- centre of the total video world. Both
tisers will find answers, orientation Duncan Stewart as well as Alain Beerens
and advice on how to tackle the to- take a look at the power of television in
tal video world successfully. Start- their articles, again from two different
ing with two great articles looking at angles. Stewart delves into the viewing
the Kids' target group from different time of millenials and comes back with
perspectives, one can already grasp a counterintuitive thought for today’s
some new – or maybe old? – insights. media discussion – the decline in TV
As Cornelia Krebs from Mediengruppe viewing of millennials appears to level
RTL Deutschland argues, kids need off, at least when looking at US data.
continuity in brand messages and it has The disruptive effects of VOD, SVOD and
to cater to their needs of safety, but also mobile devices on the media usage of
Daniel Bischoff curiosity. Rupert Schäfer from Nunatak millennials seem to flatten out and tel-
Marketing Director Group takes a different angle on the evision remains the video base with over
topic of kids and media, describing a 2 hours per day for 18- to 24-year olds.
connected kid’s world. Both acknowledge Beerens argues that television remains
that kids' communication and media “resilient in an era of immense disrup-
needs evolve with their age, and brands tion” and that all other forms of media
need to accompany them along this develop better ROIs when combined
journey; they need to become anchors of with television, especially digital
continuity in an age of instability. video. x
 TV KEY FACTS 2017

Quantico
M6, France

52 
53
 Audience Measurement
Is Catching Up on
TV Consumption Habits

Eurodata TV Worldwide's One TV Year in the World report gives an annual

overview of TV consumption and audiovisual landscapes in more than 100
territories around the world. In 2016, the daily TV viewing time is still solid
with 3 hours per individual. To give even more accurate ratings in the
upcoming years, TV audience measurement institutes are looking at
ways to deliver a fully unified 4-screen TV audience measurement.

TV consumption worldwide
Worldwide daily TV viewing time: waning but
still solid
TV viewing time calculated over the total population of
92 countries worldwide reaches the very round number
of 3 hours per day per individual, a figure averaged over
nearly 3.9 billion people. This is a 3-minute decrease
compared to 2015, a very similar dip to the one observed
last year. This decrease is a tendency shared by most
regions in the world, and is stronger in North America
and Oceania. However, a noticeable exception is South
America, where the average daily TV viewing time has
Florent Carême significantly increased between 2015 and 2016. Although
Head of Research on a decline, 2016’s average daily TV viewing time is still
very high and remains mainly steady from an evolu-
tionary perspective of nearly 25 years. On a regional
level, this long-term outlook shows that Europe is at
a consistently high level and that South America is on
the rise, while North America, the Middle East and Asia
show more significant decreasing tendencies. >
 The good news
is that 4-screen
TV audience
measurement
became
accessible to
the market in
2016.

10%
Average audience boost
among Young Adults
TV KEY FACTS 2017

54 
55
 Online figures are Time-shifted viewing on TV sets makes headway
In 2016, 39 countries measured time-shifted viewing
sometimes impressive,
in their TV audience measurement.
but are in no way In the 30 countries where the split between live
and time-shifted viewing is available, we note that
comparable to the TV
time-shifted viewing brought in an audience hike of 7%
audience figures the market on average in 2016, over the entire population and the
entire day. This percentage has slightly increased over
is actually dealing with.
the last few years. However, it should be noted that,
overall, most TV viewing remains live. Of course, the
weight of time-shifted viewing strongly depends on
the studied market; countries like the United Kingdom,
Switzerland, the United States, Belgium, Ireland and
Canada show a far better performance in that respect.
A similar analysis of young adults shows paral-
lel trends. Although we note a stronger slump in

Worldwide daily TV viewing time

2015 2016

3h03 3h00

Young Adults 2h08 2h04

Agregated on

92
countries

Based on total individuals, total day. Computed on 92 countries. Guests and time-shifted viewing included when included in national audience currency.
Averages are weighted with the country’s TV universe for total individuals and young adults.
Source:  Eurodata TV Worldwide / One Television Year in the World 2017 issue / Relevant Partners – All rights reserved 
the total daily TV viewing time amongst young
France and the Netherlands
adults compared to the whole population, this de- 
crease mainly impacts live viewing and not so much are among the most
time-shifted viewing, which remains steady.
advanced countries for
The relative audience increase among young adults
is therefore stronger than for the whole population; online screen measurement
we’ve recorded an average audience boost of nearly
of TV programmes.
10%, which has been slightly rising for the past two
years.
This analysis shows that an important part of the TV
consumption measurements are lost in the mix: TV
content viewed on online screens.

Fully unified 4-screen ratings is a

must
A new step in TV audience measurement is in
the works
For nearly a decade now, TV audience measurement
has been put to the test by new habits in TV viewing.
The development of TV catch-up services and hard
drives that can easily connect to TV set-top boxes
has led to the measurement of time-shifted viewing.
This is effective in an increasing number of countries:
39 countries measured time-shifted viewing in 2016,
which is 8 more countries than in 2015, and sever-
al more has taken the leap in 2017 (Croatia, Serbia,
Chile, and more).
However, while more and more online services allow
viewers to watch television programmes on their de-
vices (computers, laptops, mobiles or tablets), au-
dience measurements have mainly been limited to
those in front of their TV sets – until now. In response
to their local TV market needs, many TV audience With 3 hours daily
measurement institutes have worked on ways to pick viewing time
up these additional figures, to be up to date in re- worldwide in 2016,
flecting today’s new modes of TV consumption. This TV remains the
is what we call a fully unified 4-screen TV audience cornerstone of the
measurement. Total Video world and
Without access to this key data, channels and a unique opportunity
platforms communicate about online viewing us- for advertisers
ing the number of launched streams or the num- to develop their
ber of unique visitors, often adding data over dif- communication
ferent episodes of the same show. > strategy.
TV KEY FACTS 2017

56 
57
 The challenge: to get comparable
audience figures between the screens

Screen Average number of viewers Source

TV Set Live Recording TV Panel

+ TV catch-up

Online Screens Live Catch-up Online Panel Platform

Streaming Streaming Data

4 Screens Live Time-Shifted Panel Platform

Data

Source: Eurodata TV Worldwide / Relevant Partners - All rights reserved

As a result, the online figures are sometimes im- audiences on different screens. Then, of course, the
pressive, but are in no way comparable to the TV goal is to provide the market with the same level of
audience figures the market is actually dealing precision that is available today for TV-set audience
with. Let’s keep in mind that the most commonly measurement: a variety of indicators (ratings, mar-
used “number of viewers” figure in TV is weight- ket shares, reach, coverage, etc.) and targets (by
ed in proportion with its viewing duration, which age, sex, socio-economic status, etc.).
is quite different from the number of launched Tapping into comparable TV audience figures on all
streams. screens will allow the market to:
So, the first aim of 4-screen TV audience meas- •p
 roperly take into account the addition-

urement is to provide comparable figures between al audiences on these screens, especially among
 millennials and young adults that are heavy con- or the viewing duration, but it comes up short when
sumers of videos on mobile devices tracking the exact viewer profile (age, gender, revenue,
•b  etter understand how a programme is and so on). With site-centric data we can divide the ac-
watched in order to adapt its content or its broad- cumulated viewing duration of a video by its length to
casting format to improve the viewer experience get an average number of complete viewings. This ratio
• i ncrease the monetisation of TV viewing on is very similar to usual TV ratings. Site-centric data
other screens. thus provides us with ratings (in number of viewers)
Bearing this in mind, the good news is that 4-screen for programmes viewed on a live stream or on a re-
TV audience measurement became accessible to play platform, with a breakdown by screen, but not
the market in 2016 in some countries (such as the by target group.
Netherlands and France) and several more have it This is why the second step of the 4-screen rating
in the cards for 2017 or 2018, starting with Denmark development is to mix site centric data with online
(launched on 1 January, 2017), the US, Sweden, Sin- panel data, which is thought to be representative of
gapore and many more! the online video consumer population. This merging
between panel data and exhaustive data is called hy-
How does it work? bridisation, allowing the 4-screen ratings to be broken
Let’s start with a recap of how TV audience on TV down by target group, as well as target group per-
sets is measured. In most developed TV markets, an centage, just as usual TV ratings.
establishment survey (often updated on a yearly ba-
sis) provides us with detailed information on a specif- First results of 4-screen
ic population regarding their TV equipment, TV sub- TV audience measurement
scriptions and platform availability depending on their France and the Netherlands are among the most
gender, age and revenues. From this data, a TV panel advanced countries for online screen measurement
is drawn up to represent the global TV population. of TV programmes. Major TV channels are already
Then each household in the panel is equipped with measured on all 4 screens in these countries and the
an audience meter that records TV viewing by each first feedback on online screens (computers, tab-
panellist. This data is then automatically transmit- lets and mobiles) is out. In France, 1 out of 5 people
ted to the TV audience measurement institute that watched TV on an online screen in December 2016,
projects the TV consumption over the entire studied while in the Netherlands, this proportion reached
population. This process allows TV audience figures 50% of the population over the course of the same
to include live viewing as well as time-shifted view- year.
ing (with some technical adaptations) given a great Here’s another interesting insight from these online
variety of indicators, such as ratings, viewing times, screen results: the audience profile on online screens
and coverage, as well as a breakdown according to is very different from the one on TV sets. Although
demographic group. young adults represent only 17% of the TV-set profile,
TV consumption across online screens is far more this number rises to 50% for the online screen audi-
spread out than viewing on TV sets alone, which ence, in place of seniors. This result was to be expect-
makes it difficult to get consistent and accu- ed, but it’s now confirmed using comparable data!  x
rate 4-screen ratings using only the panel process.
That’s why the first step in the release of consist-
ent 4-screen TV audience measurement is for online
platforms to collect “site-centric” data, or “census
data”. Unlike panel data, site-centric data gives exten-
sive information about the number of launched streams France: 1/5 people watch
TV on an online screen
TV KEY FACTS 2017

vs 1/2 in the Netherlands.

58 
59
 The World
of Television
We live in fascinating times. Cars drive themselves, men are preparing
to go to Mars and artificial intelligence has become an integral part
of our lives. The advertising industry, in turn, has undergone tremendous
changes over the past decade.

In this evolving media landscape where brand safety

and the looming influence of tech giants on advertis-
ing is centre stage, there is one value that has stood
the test of time: television.
The power of TV – often more aptly described as to-
tal vision or total video – has endured more than 10
years of digital disruption and boundless innovation.
This is not a random observation or a one-off phe-
nomenon, but a measurable reality across countries,
continents and generations, according to research
done by The Global TV Group.
With The Global TV Group as a unified voice, major
players in the television industry have rallied around
Alain Beerens their common cause to get behind TV's new nar-
Marketing & rative. Determined to walk the talk, the industry is
Communication Manager exchanging data and technical expertise to shape a
positive message for television.
As industry-audited figures are pouring in from
around the world, The Global TV Group is, for the
first time, able to provide an in-depth, interna-
tional case for television advertising. This collec-
tive voice brings home the unrivalled effective-
ness of TV to advertisers and agencies and lets
young digital natives in on the myriad possibilities
of TV advertising. >
 The power of TV
has endured more
than 10 years of
digital disruption
and boundless
innovation.

$1.74
payback sales revenue for $1
invested on TV in Australia.
TV KEY FACTS 2017

60 
61
These collected insights have put forward a num- proven to be another enticing argument. The effec-
ber of undeniable arguments. tiveness of cross-media campaigns is clear: the com-
bination of TV and digital drives the highest return on
Consumption & viewing investment. TV advertising also remains most likely to
Over the past decade, TV has proven remarkably re- make consumers laugh, move them to tears or trig-
silient in an era of immense disruption. Despite the ger emotions, compared to other media. This is an
emergence of new services such as Netflix and the essential asset, given that the majority of purchasing
further establishment of YouTube or on-demand ser- decisions are emotion-based.
vices, TV consumption has remained steadfast all We do live in fascinating times, but as artist Andy
around the globe. TV viewing across all platforms Warhol once said: “They always say time changes
even steadily increases with age across markets. Fur- things, but you actually have to change them yourself.”
thermore, the unique combination of volume and So enough smugness – with these key arguments
reach makes television a powerful brand-builder. On and many more, The Global TV Group is ready to
average, TV reaches about 70% of a population with- tell TV’s new story and meet the needs of advertis-
in a day, 90% within a week and nearly everyone in a ers who are eager for transparent, reliable data and
month. Likewise, combining television with digital has fresh insights. x

Online advertisers have faith in TV

Despite the myth TV 98% TV 96% TV 95%
that Pure Players and Online 0% Online 4% Online 4%
online advertisers
spend the majority
of their advertising
budget on online
platforms, figures for
some of the major
advertisers show that TV 93% TV 90% TV 87%
they invest massively Online 7% Online 9% Online 0%
on TV.

TV 85% TV 80%
Online 0% Online 1%

Advertising
investment, Spain.
TV Online

Source: Arce media. Net investment 2015. theglobaltvgroup.com

TV undoubtedly generates more money
for advertisers The Global TV Group,
formerly known
as PEPPTV, is an
TV is TV is TV is
informal grouping of
2x more 3x more 4x more
broadcasters’ and
effective than online effective than OOH effective than online
sales houses’ trade
video, print and radio display
bodies in Europe, the
USA, Australia and
Payback sales revenue for $1 invested, Australia. Latin America, whose
joint objective is to
promote television.
Investment

$1

TV
$1.74

Print
$0.79

Video
$0.72

Radio
$0.71

OOH
$0.62

The effectiveness
of cross-media
$0.41 Online display campaigns is clear:
the combination of
TV and digital drives
Source: Ebiquity & Thinktv Australia “Payback” Study Wave 1 (FMCG, OTC and Beverages)
November 2016. theglobaltvgroup.com the highest return on
investment.
TV KEY FACTS 2017

62 
63
Focus.

Facts & Figures

About TV Effectiveness

Despite a decade of disruption,

standard viewing is resilient
Hours of TV viewed on a TV set per day, UK.

89%

Internet
Access 47%
Evolution

3h36 3h38 3h44 3h45 4h02 4h02 4h01 3h52 3h41 3h36 3h32

2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

Digital
TV
evolution

Source: Thinkbox - BARB, 2006-2016, individuals. TV set viewing within 7 days of broadcast. *Ipsos Tech tracker Q1-4 2016. theglobaltvgroup.com

TV ads have a stronger emotional impact

than any other medium
Information Emotion Attention Action
40% of Italians 58% of British 61% of Canadians 6 in 10 Australians
believe that TV claim that TV ads consumers say take action as a
advertising is the are most likely to that ads screened result of an ad
most useful form make them feel on TV are the ones seen on TV.
of advertising.
emotional. they pay the most
attention to.

Sources: Information: GFK TSSP (data for 2016). Sample: 12.000 adult 14+ “Do you think that these kinds of adverts ...are useful for you? Do they give you useful
information? Emotion: TV/Ad Nation, 2016, Ipsos Connect/Thinkbox, adults 15+. Question: ‘In which, if any, of the following places are you most likely to find
advertising that…’ Attention: nlogic thinktv OmniVu Survey March 2016. Action: Nielsen Global Trust in Advertising Survey Q1 2015.
 TV is the most effective medium …
Effect of adding medium
Increase in average no. VL business effects
29%

20%
17%
15%
10%
7% 6% 6%
3%
2%
TV Outdoor Radio Press DM Online PR Promos Sponsorship Cinema

… and has become more effective

over time
% increase in avg. no. VL business effects from adding TV

Adding TV increases
effectiveness by
40%, making TV
the most effective
medium
Press

Radio
40%
27%
Outdoor

12%
1980-1996 1998-2006 2008-2016

Source: Marketing Effectiveness in the Digital Era, 2016, Binet & Field / IPA Base: all IPA cases
TV KEY FACTS 2017

64 
65
Focus.

Facts & Figures

About European Online Ad Spend

Net European AdSpend 2016 (in €Bn)

TV Online Video YoY Growth in %
Total Video 34 3 37
21%
Print 23.3
Digital Display
13.2 9%
(without video)
4%
2% 2%
OOH 7.4

-1% 0%
Radio 5.2
-9%
Cinema 0.7
Total TV Digital Display Press OOH Radio Cine
Video Video

Source: IAB, IHS Markit, Adex Benchmark 2016. Estimated Net on 27 Markets

Mature markets were the major contributors to the

European video ad spend, but highest growth came
from the emerging markets
• 24 markets Video advertising in 2016 (in €M)
831
reported data
• Value: €3 Bn
• Year-on-year
growth of 24.4%
404
• Top 5 markets by
338
value: UK, Italy, 280

Germany, France 176

138 127
118 112
and Spain 81 70 51 47 43 39 38 35 30 9 7 6 5 3
• Top 5 markets by 2 2 1
UK
Italy
Germany
France
Spain
Belgium
The Netherlands
Sweden
Russia
Czech Republic
Turkey
Poland
Ireland
Austria
Switzerland
Denmark
Norway
Finland
Bulgaria
Hungary
Croatia
Greece
Slovenia
Serbia
Romania
Belarus

growth: Slovenia,
Serbia, Belarus,
Ireland, Croatia

Source: IAB Europe and IHS Markit

 Format shares of online ad spend (%)
Display Classifieds & Directories Paid-for-search

100%
Europe

90% •D
 isplay was the only format in
2016 to gain share, with a small
80%
increase from 36.9% to 38.0%.

70% For display to see a substantial

increase, the European market
60%
needs to see online video play a

50% bigger role.

•T
 he contradiction of search
40%
share has stabilised over the last

30% 3 years, floating around 46.0%

•W
 hile display and search have
20%
eaten into the classifieds and

10% directories share, it has held

its share base above 15.0% over
0%
the last 5 years.
2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

Western Europe
•W
 ithin Western Europe, the composition of format share resembles the total European market, which was a
reflection of the market values of the mature markets within the region.
•D
 isplay decreased slightly from 38.0% to 37.8%
•P
 aid-for-search remained the same year over year.
 lassifieds and directories were strong and gained a small share from display.
•C

Source: IAB Europe and IHS Markit

Display advertising year-on-year growth (%)

Display experiences the fastest
39.0%
growth amongst al the formats,
up to 14.1% from 2015.
• Value: €16.2 Bn
• Accounts for 38.6% of all online 21.3%
advertising spend 17.2%
14.9%
•Y
 ear-on-year growth of 14.1% 15.1%
15.4% 15.2% 14.1%
• Top 5 markets by value: UK,
Germany, France, Italy and Spain 8.9%
• Top 5 markets by growth: 0.3%
Ireland, Slovenia, Romania,
TV KEY FACTS 2017

Slovakia and Bulgaria. 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

66 
67
 TV KEY FACTS 2017

Les Experts
Club RTL, Belgium

68 
69
 Video Is Becoming
Increasingly More Important
To Children
Children have access to a wide range of different media options. This
choice includes professionally produced and user-generated content,
games and social media. The institute iconkids & youth regularly
conducts media research into families on behalf of SUPER RTL and
surveys what types of devices they have, how they’re being used and
what other activities children engage in during their spare time.

How do children spend their free time?

The use of mobile devices plays a minor
role in children's spare time activities,
dominated by traditional forms
of play: alone or with friends,
at home or outdoors.

Brigitte Bayer
Around 30% of 6- to 12-year-olds
Senior Project Manager
are brought to school by car.
Advertising Research
Same for travelling by bus or train:
ample time to use a smartphone
on the way.
 Devices used by children to go online
Desktop computers Tablets Smartphones
& notebooks

75%
60 %
of 6 to 13-year-olds are on the internet

23 %
at least once a week
45 %
47%
use it on a daily basis

Linear television dominates video consumption

TV is more important in the day-to-day lives of Even considering consumption across all screens,
children than Internet use: traditional TV content convinces the most:

93% 26% 89% only 2%

of 6 to 9-year-olds of 6 to 9-year-olds and of 6 to 9-year-olds and of the 6 to 9-year-olds and
and 95% of 10 to
13-year-olds watch
traditional, linear
61% 94% 6%
of 10 to 13-year-olds of 10 to 13-year-olds watch of 10 to 13-year-olds watch
television several
watch videos on TV programmes at the shows via fee-based
times a week
the Internet. time they are broadcast streaming services.

Variety of choice leads to additional use

Consumption of video content has risen year after
year on nearly all platforms without substitution
taking place. Linear TV is primarily used for
relaxation, whereas the mood state associated with
YouTube, for example, is characterised primarily by 87%
of children use traditional
17%
...vs 17% for YouTube and
activity.
TV on any given day... other Internet video sources
TV KEY FACTS 2017

70 
71
Dragons
Super RTL, Germany
 Virtual Nannies,
Apps & Augmented
Reality
In the last 25 years, the internet has profoundly changed our lives, but
that’s just the beginning. New technology already comes naturally to the
next generation of digital and social media natives, and what’s coming
next will drastically change their behavior.

With new apps like PopJam, musical.ly, Toca

Boca, a generation of parents that grew up with
Panini-scrapbooks, Pac-Man and “Wetten, dass…?”
currently looks on with astonishment at how their
kids are spending their free time. And because the If artificial
pace of innovation is exponentially increasing, it’s
intelligence
becoming more important for parents to keep up.
Mobile apps are just the tip of the iceberg. If arti- makes its way
ficial intelligence makes its way into children’s play-
into children’s
rooms, it might seem unnatural at first, but it could
also open up new possibilities. Parents will have to playrooms,
mull over how digital nannies can support them and
it might seem
relieve some of the burden of parenting, especially
Rupert Schäfer on the topic of education. Though virtual nannies unnatural
Managing Partner may not have the same emotional closeness to chil-
at first, but
dren as parents do, they could help foster the chil-
dren’s knowledge and teach media skills in a playful it could also
way. With the help of digital nannies, kids can make
open up new
their first steps in the future’s vast digital media
landscape. And let’s face it, the next generation pos­sibilities.
is taking the internet, smartphones and virtual
reality for granted – like eating bread with Nutella
in the morning. >
TV KEY FACTS 2017

72 
73
The children's market is all about worldwide, is only accessible on the smartphone and
mobile tablet. The Mini Playback-Show 4.0 is also outra-
A survey of 2,700 parents in the United States, Can- geously popular in Germany, especially with a very
ada and Great Britain – conducted by Ipsos and DHX young audience. Around 19 million fans follow the
Media – shows that the majority of children (61%) videos of the 14-year-old twins, Lisa and Lena. Last
prefer mobile devices for watching different forms of year, the duo was awarded the Otto by Bravo mag-
content, and 40% of them watch content on their azine, proving that these devices have reached the
smartphone. That comes as no surprise: they’ve mainstream. It also serves as an important cue for
been tinkering with those devices since their early the advertising industry and its customers who nat-
days of childhood. urally see a lot of potential in the market.
As of now, Germany is trailing behind on that front. Another example of a mobile-only approach is the
According to a representative survey by Iconkids & British mobile app, PopJam – a kind of safe Insta-
youth, 87% of mothers said that their children had gram for teens, already used by 30% of all 8- to 12-
been watching linear TV the previous day – YouTube year olds. Similar to its big role models like Instagram
and other web services were only named by 17%. and Facebook, PopJam lets children share pictures
And yet, smartphones and tablets are on the rise: and stickers, follow channels and generate follow-
51% of 10- to 12-year olds already own a smartphone. ers in a safe space. Its success in the UK sparked a
This is an interesting development, considering launch in the US this year.
Apple launched its first iPhone only ten years ago. These apps and networks are increasingly becoming
The tablet is taking off with the younger audienc- a challenge for traditional broadcasters, particular-
es as well: 54% of kids own one, a 13% boost com- ly because more and more video content is being
pared to last year. Many companies have already shared on those platforms, and kids today are more
adapted to the new user behavior and are offering accustomed to a digital, on-demand service than
an exclusively mobile ecosystem. For example, the linear television. For instance, the app Toca Boca
tremendously successful karaoke-app from China, connects thousands of original videos with online
musical.ly, with around 200 million registered users games and information for parents.

Children usage of mobile devices and TV

61%
of children prefer mobile
87%
of mothers said that
devices for watching their children had been
content. watching linear TV the

40% 54%
previous day – 17% for
YouTube and other web
services.
of children watch content of kids own a tablet, +13%
on their smartphone. vs last year.
The internet of things is changing
the way we play, consume and
learn
The digital revolution sweeping through our children’s
rooms will gain much more ground in the future. Vir-
tual reality, augmented reality and the Internet of
Things are all speeding up the process. Forecasts ex-
pect 50 million connected devices in the mix by 2020,
and I’m not only talking about thermostats and cars.
Even toys and games will become digitally connect-
ed, interacting with their users through an app which
will gather and analyze lots of data. What’s the re-
sult? The way children play will drastically change.
Pokemon Go – a kind of scavenger hunt 2.0 – was
only the beginning. The emerging technologies will
also alter the way we learn; new devices can quickly
and easily customize content to be precisely in tune
with the user’s needs. Microsoft already lets us posi-
tion information in rooms via VR glasses, no matter
where we are. Another example is Cognitoy, which is
no more than a simple toy dinosaur at first glance.
But if you connect it to the internet, it can answer
almost any question, like a children’s version of Wiki-
pedia. Considering the sorts of questions children CogniToys,
ask, it might be even better than their parents. The Educational
Toy Dinosaur
Artificial intelligence is moving
into children's rooms
Voice control might be breaking one of the last barri-
ers into the virtual world. It allows us to consume and
interact with media without having to read, write or
type. The smart speaker, Amazon Echo, connects to
Amazon via voice control. On 8 August, Google has
introduced its rival product – Google Home – in Ger-
many. Mattel recently launched, among other prod-
ucts, Aristotle, Baby’s First Voice Assistant. Said to be
an “Amazon Echo that understands your kids too,” Check out the
the baby phone films your child and sends updates infographics by
to your phone. It recognizes the child’s speech pat- Brigitte Bayer from
terns, puts on his or her favorite tunes and adjusts IP Deutschland on
the light in their room. Another perk for parents is pages 70-71 for
that Aristotle notices when the child needs a nappy more information
change. These are only some of the ways that par- on children's screen
ents can benefit directly from the digital revolution. x usage.
TV KEY FACTS 2017

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77
TV KEY FACTS 2017

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 Everyday Heroes
For Kids
How Brands Become – and Stay – Relevant

Development is far quicker during childhood than at any other stage of

life. Children are constantly acquiring new skills, and the way they
perceive their physical and social environment is always changing.
Whatever a four-year-old’s world revolves around today may well be
completely forgotten in a few days’ time.

Childhood means change. This presents particular

challenges to brands targeting kids in their market-
ing and communication. Children’s needs and their
developmental level have to be taken into account,
and the brand should ideally retain long-term rele-
vance. The key to achieving this was demonstrated
in a number of presentations at this year’s Kinder-
welten conference in Cologne, Germany.
The concept m and iconkids & youth institutions
presented the results of various studies which ex-
amined the subject from different perspectives. The
findings of iconkids & youth are based on regular
quantitative investigations in the target group of
Cornelia Krebs children. Children and their parents are interviewed
Head of Advertising on subjects including leisure activities, media usage
Research and consumption. Concept m was commissioned
by IP Deutschland with the task of finding out how
brands establish themselves in the awareness of
children and what the role of TV ads may be in the
process.
Children between 5 and 11 years of age were encour-
aged to play in a natural setting in association with
a brand. >
 Brands have
an ideal audience in
children, who are
naturally
interested in
novelty.

TV KEY FACTS 2017

Inspector Gadget
SUPER RTL, Germany

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79
Woozle Goozle Depending on their character, they painted and did
SUPER RTL, crafts with the experiment leader, while other kids
Germany reenacted brand experiences themselves or with toy
figures. This atmosphere allowed the kids to express
themselves in a way they might not have been able
to articulate verbally. This combination of quantita-
tive and qualitative results gave rise to specific ad-
vice for brand communication.
Brands have an ideal audience in children, who are
naturally interested in novelty.
An advertiser who What’s more, they get to know a lot of products
through brand names in their daily lives. The brand
only communicates
(for instance, Nutella) is then synonymous with the
their product’s benefits product category (hazelnut chocolate spread), and
it’s often only many years later that children become
without offering creative
aware of the actual category behind the product.
stimuli won’t be up to par But even leading brands that make it to pole posi-
tion because of their prevalence in very early child-
in the imaginative world
hood development are not guaranteed long-lasting
of the child. relevance.
 Brands have to adapt
their storytelling
to fulfill kids'
imagination and
safety needs.

Triggering the imagination “This is for you”

Children’s ideas about brands and what they offer The art of effective children's advertising is to main-
change according to their stage of development. tain the balance between creative impulses and qual-
The preschool period, for example, is distinguished ity communication of the product. Even in advertising
by the very gradual cut off of the child’s symbiotic directed at preschool children, the perks of the prod-
relationship with its mother. The child very carefully uct should be clear. It goes without saying that kids
begins to assert its independence, which can quick- need to understand that they are the target group.
ly lead to overwhelming feelings. Brands can adapt Certain key signals – such as colours, typography or
to this tension by gearing their communication to- the features of the characters in the ad – can be used
wards freedom and safe spaces for retreat. A child’s to define the user category. Preschool kids don’t make
imagination is boundless; it only needs the smallest strategic use of brands. The connection with a brand
amount of stimulus to register brand communica- arises primarily out of what it offers the child on an
tion and it only takes short stories that convey to emotional level; whether the product is attractive to
children the qualities of the brand characters to turn the child or if he or she has any interest in using it.
brands into heroes. But the reverse is true as well:
an advertiser who only communicates their prod- Even primary school children think
uct’s benefits without offering creative stimuli won’t strategically
be up to par in the imaginative world of the child. At primary (elementary) school age, brand func-
They’ll then also be faced with an uphill struggle in tions change. The egocentric perspective of a pre-
the real world. school child, “me and the brand”, gives way >
TV KEY FACTS 2017

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 To be sure your brand will
still be used by the next
generation, your ads need to be
continuously present with
attractive brand stories that
are relevant to the times.

The Adventures of Puss in Boots

SUPER RTL, Germany
to a sociocentric one “what can the brand offer me the risk that the product will lose its cool factor as
in my social environment?”. After all, when you meet the children age.
with friends in the playground, it starts to matter One thing is true for both types of brands: continu-
what you own and consume. Brands become acces- ity is important. If brands stop advertising for long
sories. periods of time because they assume they’ve made
In this age group, the primary function of brands their mark forever, they’ll be booted out by the com-
is an integrative one. Kids want what their friends petition. If you want to be sure that your brand will
have. It’s important for children to join forces with still be used by the next generation, your ads need to
friends to occupy shared terrain. This is another step be continuously present with attractive brand stories
towards breaking away from mum and dad – espe- that are relevant to the times.
cially if mum and dad don’t share the same fasci-
nation with the current trends. At secondary (high) TV ads build bridges between
school, the focus increasingly shifts to the differenti- brands and the imagination
ation function of brands. TV ads have a central role in the communication
Secondary-age kids are now well on their way to ex- of successful brands: they are the link between the
pressing themselves. While they still basically want product, the personal environment and the child's
the same things as everyone else, they want them imagination. In an ideal world, TV ads would use
with a personal touch. In every generation, brands compelling storytelling to communicate not just the
offer typical products with an integrative function relevance of the product in kids’ daily lives, but also
but also a design that provides scope for distinction. a sense of what the brand stands for. Brands should
technically have an easy ride in this case, as they can
The comfort of the cocoon build on the imaginative way children think.
Whether preschoolers or teens, children always have A brand story suitable for children needs time in TV
periods of yearning for refuge and support. In this ads to develop its message. Although overly quick
safe cocoon, they recharge their batteries in order to cuts may have a dynamic effect, children are over-
experience new discoveries. Products that are adver- loaded by them, and the character of the brand falls
tised as family friendly, or used in a family setting, by the wayside. It’s a better idea to rely on short,
give rise to a feeling of dependable security, emo- concise stories about the qualities of the brand he-
tional closeness and care. roes. With sharp storytelling, brands have the best
chance of staying present, even in the absence of di-
Experts for target sub-groups and rect advertising contact. x
lifelong favourite brands
Depending on the sector and product segment, it
can be useful either to address a target sub-group
defined by age, or to position the brand as suitable
for children of all ages. Favourite brands that focus
on target sub-groups stay relevant as long as they
continuously re-evaluate the sub-group’s specific
needs. This tactic helps them win over future gen-
erations.
Favourite brands with a broad target group, on the
other hand, should focus on the product benefits,
and avoid design codes which suggest over-identifi-
cation with too narrow an age category. This reduces
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 The Kids Are Alright:
Millennial TV Viewing Trends
Might Be Getting Better
Deloitte predicts that traditional TV viewing1 by 18- to 24-year olds
(the youngest sub-group of the millennial generation, also known as Gen Y)
will decline by 5-10% in the US, Canada and the UK in 2018 compared
to a year earlier. In each country, that would be a rate of decline lower
than a few years ago.

Deloitte further predicts that it is probable that the

trend for the next few years will be ever more modest
annual drops. Why? Over the last few years, young
people were pulled away from traditional TV by the
astonishing growth in digital competition. In the last
five years, young people have been lured by the siren
The
songs of alternatives such as smartphones, comput- 
ers, social media, streaming platforms like YouTube, erosion of
SVOD systems like Netflix, and video piracy, from
TV minutes
either downloading or more increasingly, streaming.
All of those distractions are piling up and showing won’t stop,
stagnating annual usage, meaning that the erosion
but will
of TV minutes won’t stop, but will likely slow down.
Duncan Stewart Overall, TV viewing for the total population has been likely slow
Director of Research resilient. For example, in 2017, TV daily minutes in the
down.
US are down less than 2%. But it was a common as-
sumption that these average viewing numbers were
mainly supported by a rising audience in elderly peo-
ple, while younger viewers were abandoning TV at an
ever increasing rate.
Figure 1 is a chart showing the annual changes in
traditional TV viewing for similar young age groups in
the US, UK and Canada from 2011 to the present. As
far as I know, there has never been a comprehensive
graph of the three largest (mainly) English speaking
markets before, focused on young viewers, and over
such a long period.
The first conclusion I would draw looking at Figure 1 is
that traditional TV viewing by 18- to 24-year olds ap-
pears to be in structural decline. This is hardly news,
of course, but seeing the trends over six plus years
and across three countries reinforces that message.
Second, the annual declines tend to range from
about -5% to about -10%. Of the seventy or so indi-
vidual data points, over 80% fall into that range. As
anyone in the print newspaper business can tell you,
single digit declines are MUCH preferable to double
digit declines! Finally, the trend does not seem to
be accelerating: there were some declines of over
15% in the UK and nearly 20% in the US, but
they are outliers. UK declines look stable, and
in both Canada and the US there seems to
be a moderating trend in annual drops in
TV viewing by this youngest age group.
That could change, but the worst seems
to be behind us. >

TV KEY FACTS 2017

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 Yearly change in traditional TV viewing by young people
US, Canada and UK - 2011 to present

5%
USA 18-24

Canada 18-24

UK 16-24
0%

-5%

-10%

-15%

-20%
Q1/11 Q2/11 Q3/11 Q4/11 Q1/12 Q2/12 Q3/12 Q4/12 Q1/13 Q2/13 Q3/13 Q4/13 Q1/14 Q2/14 Q3/14 Q4/14 Q1/15 Q2/15 Q3/15 Q4/15 Q1/16 Q2/16 Q3/16 Q4/16 Q1/17 Q2/17

Figure 1

It seems likely that, for the rest of 2017, we’ll see people and competed with television for decades.
viewing declines of closer to -10% than -5% in the They did not spike in the 2014/2015 time period.) Those
US and the UK. Both the US Presidential election and all existed before 2013, but entered the steep part of
Brexit/UK election had a positive effect on TV news adoption and usage curves, and acted as a “perfect
viewing by young people, and therefore the year-by- storm” that took 18-24 year olds' eyeballs away from
year comparisons will likely suffer for the rest of 2017 TV sets. None of them are expected to become less
now that these major TV news events are over. But important going forwards, but neither are they capa-
it’s possible that we’ll see smaller declines in 2018. ble of becoming materially more significant threats
than they are already. At some level, the worst may
Why? be past!
I think that recent declines in traditional TV viewing by
18- to 24-year olds were largely caused by tech and me- 1. Young people are more likely to have a
dia trends that acted as competitors or substitutes for smartphone. Smartphone ownership by 18- to 24-
traditional TV: smartphones, streaming video on de- year olds in the US was only 55% in 2012 and was
mand services, social media, piracy and ad-supported 94% in 2016, the same number in 2015. Not only are
online video. (Some might wonder why I don’t men- smartphones nearly ubiquitous, the penetration is
tion video games, but those have appealed to young not growing3.
 Cf. the article by
Florent Carême
2. Smartphones have much bigger screens, from Eurodata TV
which are better for using as a TV alternative. Worldwide that gives
In September 2014, Americans owned only 60 an interesting insight
million phones with screens over 4.5” and 120 million on the share of non-
phones smaller than that. By December 2016 the measured viewing
smaller phone category had gone down to about by younger target
40 million, while there were now about 160 million groups and its effect
larger phones 4. Given new product launches, we on the global viewing
may see over half of all new phones have screens figures.
over 5.5”.

3. More young people have SVOD services such

as Netflix, and use them more each day. Only
28% of US millennials had Netflix in 2012, a rate
that nearly doubled to 50% by 2015. Tacking on to
the growth in Amazon Prime, Hulu and HBO Go,
SVOD penetration in this demographic is now likely
over 75%. Daily usage for Netflix was about 1.2
hours per subscriber per day in 2012, and 1.8 hours
in 20175.

4. Young people are consuming more streaming Details on interpreting the chart:
video from services such as YouTube. Streaming 1. I have chosen to use line thickness as a rough indi-
video hours weekly for US millennials rose from 1.6 cator of population size, with the US the thickest
hours in Q4 of 2013 to 5.7 hours in the same quarter and Canada the thinnest: the line width is not ex-
of 2015, more than tripling in two years6. actly proportional to population size, but close. In
the period measured there were about 25-27 mil-
5. Social media apps are ubiquitous and time lion 18-24 year olds in the US, about 7 million 16-24
consuming. As of December 2016, over 60% of US year olds in the UK, and over 3 million 18-24 year
18- to 34-year olds were on Snapchat, over 75% olds in Canada.
were on Instagram, and 95% were on Facebook. 2.  Data in each country is sourced from the tradi-
Daily use of each platform averaged 14 minutes, tional leader in TV viewing measurement: Nielsen
13 minutes and over 30 minutes, respectively – in the US, BARB in the UK, and Numeris in Canada.
meaning between the three, total daily social media 3. There are multiple important differences in meas-
approaches an hour7. Snapchat was used by 38% of urement methodologies used by the three data
18- to 24-year olds in the US in December of 2013, providers. Far too many to enumerate, but they
and 78% by December of 20168. almost certainly matter.
4. The age break used in the US and Canada is 18-24
6. Peak piracy? Although millennials are now year olds while the UK age break is 16-24.
less likely to download, they are still pirating video 5. The Canadian data is annual instead of quarter-
content; 42% of 18-24 year olds in 2016 said they ly, and is not as current, ending in the 2015/2016
illegally streamed video on their desktop or laptop, broadcast year. Equally, we have Q2 2017 data for
and 41% said they were streaming illegally on their the UK, while the matching US data will be pub-
mobile devices9. lished in October. >
TV KEY FACTS 2017

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 Finally, the trend does not
seem to be accelerating: there
were some declines of over 15%
in the UK and nearly 20% in
the US, but they are outliers.
... The worst seems to be
behind us.
6. There are important country differences. Just a quarter, even a 6 minute decline in NFL viewing
few examples: would mean a 5% drop!
a. BBC iPlayer is a significant factor in the UK c. In Canada, neither kind of football is as impor-
which appeals to younger viewers. There’s no tant for traditional TV. Instead it's NHL ice hock-
real equivalent in the North American markets. ey. A playoff year which saw no Canadian-based
b. In Canada, TV habits for English-speaking and teams perform well would literally see a 50%
French-speaking viewers (about 22% of the pop- drop in audiences compared to a year where sev-
ulation) are sharply different, with French-speak- eral Canadian teams (especially in larger mar-
ers watching more traditional TV each day, and kets) made it through several rounds. 5-10 min-
annual declines being lower. The Netflix take rate utes per day impact for 18- to 24-year olds would
in French Canada is less than half of that in Eng- be a conservative estimate.
lish Canada. 8. Equally, although Figure 1 shows stable single digit
c. And in the US market, there are even larger dif- annual declines, data from other countries is not
ferences within the population. The average 18- so positive. Recent data from Denmark, Norway,
to 24-year old watches about 151 minutes of live and Sweden for Q3 of 2016 show that TV viewing
and time-shifted TV per day in Q4 2016, while by 15- to 24-year olds is not declining at modest
the average African American of the same age single digit rates, but 29, 21 and 23% respective-
watches 246 minutes (63% more than the com- ly. The data is over a measurement period of one
posite average) and the average Asian American year, so it will be necessary to watch this trend over
watches only 83 daily minutes (45% less than the a longer time period to see if this decline is steady.
composite). Though this seems improbable, time will tell. x
7. Although younger viewers are moving some of 1
This refers to live and time-shifted viewing of TV content on TV sets, connect-
ed TV devices, computers and smartphones. It does not include tablet viewing,
their daily video minutes away from tradition- and does not include SVOD services such as Netflix or online video content
such as YouTube.
al TV comedy and drama, other categories, 2
http://www.smartbrief.com/s/2017/03/nielsen-millennial-viewership-
rise-across-cable-news-networks
such as sports viewing, has remained relatively 3
comScore US Cross Platform Future in Focus 2017, page 24
4
comScore US Cross Platform Future in Focus 2017, page 28
strong. Therefore, sports viewing now makes up 5
Netflix quarterly reports.
6
http://www.jayshemenski.com/blog/will-social-media-become-the-new-
an increasing percentage of total traditional TV tv-for-brands
7
comScore US Cross Platform Future in Focus 2017, page 32
viewing for young people. That’s great news for 8
comScore US Cross Platform Future in Focus 2017, page 35
9
http://www.broadcastingcable.com/news/news-articles/study-millenni-
sports and traditional TV, as it’s watched live and al-piracy-trends-shifting/159771
10
http://www.newgeography.com/content/00269-number-18-24-year-olds-
with strong ad loads and subscription fees. But, united-states-2000-2050
11
http://www.statcan.gc.ca/tables-tableaux/sum-som/l01/cst01/de-
it also means that analysing annual trends is mo10a-eng.htm
12
Special thanks to Toby Syfret at Enders Research for the UK data, and to
more complicated, volatile and country specific. Lisa Eaton and Numeris for Canadian data. All US data is pulled from the
various Nielsen Cross Platform and Total Audience reports over the years by
a. Whether it's the Football World Cup or Champi- me. I of course take all responsibility for the presentation and interpretation
of Toby’s and Lisa’s data!
ons League, a strong or weak performance by
any of the UK teams would have a large positive
or negative effect on viewing in the UK market.
Although some in North America watch that
kind of football, the effect is much smaller.
b. Meanwhile, NFL football is the dominant TV
sport in the US. A period of weak ratings (as was
seen in the first half of the 2016/2017 season)
would have a material impact on TV viewing by
young people. Assuming they watch an average
of 120 minutes of TV per day in that fall football
TV KEY FACTS 2017

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89
91
TV KEY FACTS 2017

90 
 Solution
Trends.
With the new Total Video world we live in, the broadcasting industry has
harmonised mass media and customised solutions for advertisers.
TV’s unique reach works more effectively with digital ad possibilities that
most broadcasters now offer: new video marketplace opportunities and
innovative solutions (behavioural targeting, re-targeting, addressable TV,
influence marketing, qualified and safe data).

Combining the power of linear reach on ITV in the UK and M6 in France is an

with digital interactivity in customer re- insightful case, showing how memora-
lationships has a positive short-term ef- ble TV content is the key for compelling
fect on sales and long-term effect on the “storytelling”. It covers the wide range
customer's brand experience. of Total Video advertising solutions that
• Bianca Stockreiter from TrendOne tack- broadcasters can tap into to bring their
les how younger generations today are message home.
‘always on’ in terms of their digital con- TV remains the ultimate platform for
nectivity. Knowing how to credibly place making brands famous. This is not at the
a brand in the digital environments so expense of innovation, with a plethora
that it gets people talking is vital. of “beyond the spot” solutions available
Christophe Loisel
• Marc Cain’s experience testifies how to brands and marketers. In an inter-
Deputy General Manager
you can rapidly “popularise” your brand view with smartclip, we get an in-depth
and engage the young generation. scope on the technical developments in
• The Haier experience on the German addressable TV. Data is undoubtedly es-
channel Vox is a fascinating case that sential for tweaking content to achieve
shows how a TV brand partnership and results with the biggest impact. Howev-
licensing for a TV show can have a strong er, data and digital channels should nev-
impact on sales and in-store activities. er be a substitute for bold and brilliant
• The new PayPal TV experience on Antena ideas, which TV itself is famous for. Thor-
3 in Spain breaks down how brands can sten Schutte-Gravelaar explains how
deliver a clear message in a creative way, ATV harnesses these new data sets and
while delivering a strong national reach real-time opportunities, to broaden
and boosting digital conversations. the timeless value of the traditional
• The Lastminute customer experience TV experience. x
Krane Jeffery
Head of Digital Solutions
 TV KEY FACTS 2017

El Hormiguero
Antena 3, Spain

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 The Rise Of
Connected TV
in Europe
Audiences across Europe are watching more TV than ever. New technology
has created new methods of TV consumption and changed the way viewers
can interact with their favourite TV content. The development of over-the-top
(OTT), the delivery of TV content through an open internet connection, has
allowed audiences to increase their viewing due to the consumer-friendly
flexibility OTT offers.

Audiences across Europe are watching more TV than

ever. New technology has created new methods of
TV consumption and changed the way viewers can
interact with their favourite TV content. The devel-
opment of over-the-top (OTT), the delivery of TV
content through an open internet connection, has
allowed audiences to increase their viewing due to
the consumer-friendly flexibility OTT offers.
The habitual shift in the way audiences view TV con-
tent has opened up opportunities for global broad-
casters. Viewers can now watch content after the
initial broadcast time and across multiple devices
which has enabled a new TV ecosystem, a ‘Total Vid-
Leon Siotis eo’ universe. Major broadcasters are recognising the
Managing Director opportunities of offering their premium content to
UK & Southern Europe viewers in a more flexible way that enables them to
generate more data and better targeting while still
maintaining the premium big screen experience. >
 Viewers can now watch
content after the initial
broadcast time and
across multiple
devices which has
enabled a new TV
ecosystem, a
‘Total Video’
universe.

TV KEY FACTS 2017

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95
STV, the leading broadcaster in Scotland, is embrac- smart TV, broadcasters’ investments into the con-
ing the new ecosystem. The STV Player allows view- nected TV ecosystem will increase at a steady pace.
ers to watch their favourite TV programmes such Like Germany, Spain has excellent broadband pene-
as World Cup Football or The X Factor live and on tration giving an optimistic outlook for the future of
catch-up, free of charge within STV’s licence areas. OTT in the region and audiences are well informed
The broadcaster was the first in the UK to introduce about the connected TV options available to them.
dynamic ad insertion (DAI) to live channels in 2014, The strong demand from advertisers and their agen-
with Yospace. Since then STV has developed a cut- cies for more connected TV inventory outpaces the
ting-edge data strategy, allowing their inventory to supply available at the moment. As the amount of
be monetised programmatically and is a perfect ex- local content in Spain that is available on OTT plat-
ample of a broadcaster embracing the new TV eco- forms grows, the Spanish market will see the new
system opportunities. ecosystem flourish.
Interest in the development of connected TV is be- Like Spain, the success of OTT in France is depend-
ing driven by European advertisers who see enor- ent on more local content being produced. How-
mous value in reaching consumers on the big screen ever, according to eMarketer, half of France’s in-
in a brand safe environment. Adoption of OTT var- ternet users will access streaming video services at
ies market by market in Europe and is dependent on least once a month this year. Advertisers and their
several key variables such as connected TV penetra- agencies would like to see more of this inventory be-
tion in the market, consumer awareness, broadband come integrated with programmatic infrastructure.
speed and the availability of free-to-air TV. In some France also benefits from advanced video meas-
countries, the use of connected devices is more of an urement which was introduced into the market by
urban phenomenon with the opportunity for devel- Médiamétrie in 2016 but there is still room for more
opment in rural areas. integrated ‘total video’ measurement across digi-
In Germany, where TV remains hugely popular, tal and TV. The predominance of IPTV does remain
there is a wealth of options for subscription-based a barrier to full penetration of OTT but awareness
VOD services with good competition amongst pro- amongst consumers is high which will put pressure
viders driving the uptake of OTT. There is room for on broadcasters to meet viewer expectations.
further growth in the market, and as audiences are Italians love free-to-air live TV and smart TV, while
becoming more aware of how they can watch con- broadband penetration is low, resulting in dimin-
tent through a streaming service, gaming console or ished motivation for broadcasters to invest in a new
connected TV ecosystem. Despite this, advertisers
are showing a strong demand for connected TV ad-
vertising options in the region. If broadcasters and
manufacturers can co-operate to protect and devel-
op the TV environment in Italy, the level of OTT adop-
tion will increase.
According to SNL Kagan, the UK has one of the high-
est levels of broadband penetration in Europe: 91% of
UK households have fixed broadband connections, of
which 91% are over 4Mbps (Akamai, State of the In-
91% of UK households
ternet Q4 2016) and, like the US and Germany, smart
TVs are extremely popular. There is also widespread have fixed broadband
audience awareness of OTT options with a rising
connections, of which
culture for watching TV across multiple devices and
through catch up or streaming services. Broadcast- 91% are over 4Mbps.
ers in the UK believe that investing in OTT should be a
top priority for them over the next three years. Fast-
paced adoption will be facilitated by the already well
established programmatic video industry.
There is a clear opportunity for European broad-
casters looking for incremental revenue from OTT.
As audiences continue to enjoy television, albeit on
demand and through a variety of connected devices,
advertisers demand will continue to increase. Aware-
ness amongst consumers for these options across
Europe is generally high and it is now in the hands of
the broadcasters to capitalise on the opportunities
of the new ‘total video’ ecosystem. x
TV KEY FACTS 2017

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 Marketing of Tomorrow
The Four Factors
For Success
Jens Pöppelmann, IP Deutschland's Media Operation Director, examines the
four factors for success in the marketing of the future.

Data
Quantity with quality
Technology and data go hand in hand. If technology
is the engine, data is the fuel that drives the mod-
ern consumer, the media and the advertising world.
There can no longer be any doubt that today – and Reliable
to an even greater extent in the future – data is a key
standards
factor for success across all industries. The keyword
here is "big data". To see where the true potential lies that would
for marketing and advertising, however, we need to
offer genuine
take a closer look.
comparability
Using data intelligently
and
Jens Pöppelmann Which data is relevant for brand communication?
Media Operation Director Who has control over it? How does big data become meaningfulness
smart data? That is, how can data be processed
have not yet
to be useful in practice? The challenges are by no
means trivial. The fact that even more types and become
greater volumes of data can be captured is both a
established
blessing and a curse. While increasingly varied and
useful insight can be gleaned from the flood of infor- in this
mation, the data situation is in many cases still very
dynamic
heterogeneous in terms of origin and methodology.
Reliable standards that would offer genuine compa- market.
rability and meaningfulness have not yet become es-
tablished in this dynamic market.
Data as a contact filter
In the media sector, the primary use of targeted
data is in qualifying contacts. The potential benefits
range from optimised targeting of the audience via
improved targeting mechanisms and optimised con-
trol of the screen-independent contact rate, to so-
called data creativity. In other words, the user-spe-
cific dynamic adaptation of advertising material and
play-out using a variety of different sources of data,
such as genre, current location, associated weather
reports, information on search and purchasing be-
haviour, etc.
All of these benefits contribute to increasing budget
efficiency in the long term, be it by reducing media
waste, fine-tuning the campaign control, obtaining
more meaningful KPIs for ex-post campaign anal-
ysis, or through achieving a better understanding
of both the individual customer and the cus-
tomer journey in general.

The rarer, the more valuable

Honing in on the target group is probably
the most relevant area for data-driven
optimisation, and it can be grouped
into four categories, each of which
relies on different information:
technical and predictive behav-
ioural targeting, re-targeting
and the use of so-called us-
er-declared data. >

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 These four categories differ in the type, quantity and
availability of the data gathered, and – regardless of
the volume – in how the quality of the data in ques-
tion can influence the effect of a campaign. Basical-
ly, the rarer, more specific and exclusive the data, the
more valuable it is.

Acquire, bundle and process data sources

In order to differentiate Various suppliers have, as a consequence of their
history, access to a variety of different data points
a brand from the competition,
that they can exploit. Some are striving to strategi-
to bring it to life and plant it cally extend their data expertise and sovereignty in
order to increase their own relevance in the market,
firmly in people's memories,
because linking different types of data creates add-
you need inte­grated solutions ed value.

that span across all chan­nels.

Valuable panel data both in terms of quality
and quantity

Number of panellists
• Quality assured
• Incentivised and valid
• Panel data superior to profile data
Orchestration during a show – content integration will continue to
Creativity on all platforms grow in importance and rapidly become the norm.
In order to differentiate a brand from the compe- Particularly in the digital domain, such as addressa-
tition, to bring it to life and plant it firmly in peo- ble TV for example, the number of options are grow-
ple's memories, you need integrated solutions that ing daily. It’s an important step for IP Deutschland to
span across all channels. Mutually complementary be involved in driving such future trends.
measures covering TV and the digital domain are
now standard. It's important to adapt the story- Greater impact – from tailor-made to off-the-peg
telling mechanisms to the scenario of the channel The demands being made of media providers are
in question. This makes creativity, storytelling and changing rapidly: attractive environments and com-
orchestration more important than ever. Forms of petitive sales models are an essential basic require-
advertising, such as product placement, branded ment, of course. But there is an increasing tendency
entertainment and content marketing have become for expertise in areas outside the traditional core ac-
firmly established in television. It’s becoming ap- tivities to explain the performance, cost-effective-
parent that brands and products are not only more ness, management and transparency to advertisers
tightly associated with TV shows, but are even pro- when assessing how attractive a product is. Only
tagonists in their own right, generating enormous those who identify trends early enough, take a holis-
advertising impact in the process. tic view of the associated thematic fields and flexibly
adapt to new developments will enjoy success in the
Integrated solutions across all channels long-term. For IP Deutschland, this means not just
If a brand is seen as credible, sympathetic and rele- relying on its own solid market position, but having a
vant – whether as part of a large-scale, high-reach vision focused on key areas, and a corporate culture
comprehensive campaign or a custom split-screen that embraces constant change.  x
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 Interview.

StyleHaul’s
Data Ecosystem
StyleHaul, a contemporary marketing influencer agency and home to the
largest global style community of content creators, develops multi-platform
content strategies for brands, such as CoverGirl, Walgreens,
Procter & Gamble, Johnson & Johnson and Sephora, through highly targeted
campaigns designed for the 18 to 34-year-old female demographic.

Could you tell us more about StyleHaul’s

creation and purpose?
I’d read an article in FastCompany predicting that
brands were going to need to build social networks
to compete in the future. I decided that I wanted to
be in the digital space. I met Allen and Aaron DeBev-
oise through the team that founded Machinima and
they agreed to co-found StyleHaul with me.
Our vision was to translate the fashion and beau-
ty editorial space into digital and social content.
It’s now evolved into a vast network of more than
20,000 content creators across 86 countries.

You’re calling yourself a “marketing

influencer agency” and not an MCN
anymore. Are you changing your
strategy?
To me, the MCN movement as you and I know it
has gone in different directions. The whole space
evolved to an MPN – a multi-platform network –
Stephanie Horbaczewski so it’s more of an industry movement. What links
Founder & CEO these businesses is that we’ve moved across the
multi-platform.  >
 YouTube is still the most
popular platform for
creating and consuming
content.

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We focus on the conversation, and what we can learn CMS, authenticated video and social channels, pub-
across platforms. For example, right now we’re look- lic APIs, indexing and much more, to provide unique
ing at the fact that YouTube has become more of a cross-platform insights and strategies. Essentially, the
consumption platform than a creator platform. We’re data comes from first-party authentication from all
seeing trends completely changing. Facebook is more of our 20,000 creators across major four social plat-
for consuming, Instagram is more for creating, and forms: YouTube, Instagram, Facebook, and Twitter.
YouTube is still for creating and consuming. More specific data, such as sentiment analysis, comes
from a variety of third parties that we work with.

Can you describe your global market?

Tell us about your technology called the
We’ve found that being global and doing multi-re-
“Eye”.
gion and multi-language campaigns has been very
successful. For one P&G brand, we were able to run Until now, we’ve only been able to analyse an Insta-
a campaign simultaneously for 5 different markets gram campaign by who liked it, who shared it, who
across South East Asia using the same products and commented on it; the typical engagement behav-
the same line, which was a new advantage for them. iour. The Eye allows you to see anyone who saw the
content and created their own content as a result, as
well as micro-groups within that.
Where does your data come from? How
For example, we did a programme for a cosmetics
do you organise it?
products retailer, and by using the Eye, we found
We have our own proprietary product, Society, which that there were hyper-passionate subgroups such as
collects data from many sources, such as YouTube hair, which is only one small section of the products
 StyleHaul, a market
they sell. We could tell who the leading voices were
leader
and what type of content they were passionate
• 12.7 billion views on
about in the hair group. When they were going to
YouTube in the first
launch new hair products in their store, the compa-
half of 2017
ny could be practical about their ad investment, and
• 3.2 billion likes &
consequently more effective as they’re targeting a
almost 50 million
very specific group of customers.
comments on
Instagram
How do you select the creators? • A community of

over 18,000 highly

We have a certain set of criteria and engagement
curated influencers
metrics that our talents have to meet to be part of
across all social
our network, so we can say to a brand that they’re
platforms
all relevant, vertical and within a certain engage-
ment threshold (e.g. how many followers on Insta-
gram, how many monthly viewers on YouTube).

Do advertisers always follow your

recommendations on the YouTubers
choice?
I agreed with her, the products were only carried in
It’s really brand dependent; some brands still come one or two retailers at the time, and she indexes re-
in with a set idea of who their creator should be, oth- ally highly with the competitive retailer. She wasn’t
ers are open to learning from the data. A couple of the best choice because her audience would end up
years ago, we created the Vlogorithm to help adver- buying similar products from the competitive retail-
tisers understand our data-driven recommendations er. The Eye shows us everyone who saw the brand’s
for creators. It allowed them to gauge what was content on Instagram, and who created content as
most important to them, such as the demograph- result of that. Those are their most highly engaged
ic reached by the creator, the creator’s age, if they users. From there, we can show advertisers how to
were a mom, etc. It scans all the data points that use the data to re-target users and continue the re-
we store on creators – hundreds of millions of likes a lationship with them, such as encouraging them to
day – and give advertisers a list ranking the positive purchase or sign-up.
communication about their brand.

What makes you unique on the market?

What’s the big difference between the
We’re fashion, video and style, now we’re female and
Vlogorithm and the Eye?
male with the launch of Hauk, and we’re a focused
The connection between the two of them is that group of individuals who are passionate about those
they’re both part of Society, which is the StyleHaul topics. More than 80% of our community makes
product that captures all of our campaigns and our household decisions.
data, but they’re not the same. In the land of MPNs, we’re leading the way with data
The Vlogorithm is a tool to help advertisers choose strategy and internal products, with tools like Society
the best creators for them. For example, one brand and the Eye, and our work with targeting, re-target-
was really fond of a particular creator, and although ing and localised modeling. x
TV KEY FACTS 2017

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Focus.

Facing GAFA Players,

European Media Groups
Form Data Alliances
RTL Deutschland, ProsiebenSat.1
and United Internet’s log-in alliance
In Germany, RTL Deutschland, ProSiebenSat.1 and United Internet have
recently formed a log-in alliance to provide a simple, secure solution that
manages opt-ins for the use of internet services, while remaining
transparent and compliant with data protection laws.

• Creation of a cross-sector, open standard in line transparency and control over their personal data.
with the new European data protection law Users can manage their data, change their password
• After its launch, 45 million users will be able to log and grant or revoke permissions, all from a single
in to partner websites easily and securely location.
• Transparency and control over personal user data – Zalando SE will be the first partner to use the log-in
open to additional partner companies. solution. As of its launch in 2018, users will be able
Three of Germany's media and Internet compa- to log in to their single sign-on, not just to watch
nies – Mediengruppe RTL Deutschland GmbH, TV NOW from Mediengruppe RTL and the ProSieben
ProSiebenSat.1 Media SE and United Internet AG – live stream, but also to check emails on WEB.DE
have launched a log-in alliance. This consists of a and GMX and to shop online at Zalando. With over
cross-sector registration and log-in procedure for ac- 45 million unique users each month*, the project’s
cessing internet services with single sign-on. scope is essential for its future success.
The partners are developing an open standard that Thomas Ebeling, CEO of ProSiebenSat.1 Media SE,
lets customers use the same log-in credentials to weighs in: “With our alliance, we’re adding substan-
access all the cross-sector internet services part of tial value for the customer. At the same time, we’re
the initiative, instead of repeatedly entering different strengthening the German digital market by coun-
log-in details for each service. terbalancing the US monopolies and unclear algo-
In addition, users are able to exercise data sovereignty. rithms.” x
Each user has access to a standardised privacy cen-
Source: Working Group for Online Media Research [Arbeitsgemeinschaft
*

tre from their account provider, which facilitates Online-Forschung])

 With over 45 million unique
users each month, the project’s
scope is essential for its
future success.

TV KEY FACTS 2017

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 Focus.
Gravity, the French data alliance
Centre France La Montagne, Condé Nast, FNAC DARTY, L’EQUIPE,
La Dépêche, La Nouvelle République, Lagardère Active, Le Télégramme,
Les Echos-Le Parisien, Marie-Claire, M6, NextRadio TV, Perdriel, Prisma,
Media, SFR, SoLocal and Sud-Ouest: a dozen French mediacompanies
have combined forces to form a data alliance called Gravity. Bundling
and marketing their data through an innovative platform, these media
groups hope to become the third major player on the digital advertising
market, competing with Google and Facebook.

What is Gravity?
Gravity is based on the conviction that putting to-
gether their assets, a group of French companies can
create a common dynamic and push the digital ad-
vertising market one step further. Our commitment The world
to strengthen our positions in the market relies on :
of digital
• A rich, diverse data offer in socio-demographic, so-

cio-professional, interests, intentions, purchasing advertising

patterns, etc.
should
• And a powerful media offer that brings together

a set of formats for the alliance groups’ websites question

and apps.
itself and
Amaury Lelong
evolve, to
Managing Director What was the motivation behind
in charge of data, creating this alliance and what’s at find a
programmatic, search & stake regarding data today?
practical
social advertising
Gravity is an offensive initiative, not a defensive one.
and
The alliance was created in a context in which com-
panies, notably GAFAM, brought innovative adver- effective
tising solutions to the market. These solutions rely
place within
mainly on daily reach, constant communication with
the user, and the sheer power of the data collected the user
about the users to maximise ad targeting. Gravity
experience.
gets inspiration from it and positions itself accord-
ingly. However, we’re convinced that by pooling our
 How would you define your current
media, data, and know-how – particularly our tech-
development status in terms of
nological expertise – this alliance can reach a turning
partners?
point for digital advertising in France and steer the
market to a new direction. With close to 50% daily reach, we believe the launch
has been a success. We’ll be revealing new alliance
members in the coming weeks and I think that with-
What guarantees can you give to
in a year, we’ll have reached our ambitious target: to
advertisers?
be at least on par with Google and Facebook.
The key values we propose to bring to the market
are:
Since the alliance is composed of both large
• Media power – 44% daily reach among the French
groups and smaller partners, how is the
population, equivalent to 16 million French people.
distribution and compensation organised?
This gives us a very competitive position in the mar-
ket, pitted against Google and Facebook, who have Dividing up the profits is very simple: each member
70% of the daily reach. brings in their own media, reach and data. We work
• Media granularity – we have the ability to restrict with a dual automatic remuneration model that
very precisely the broadcasting environments. pays each member when his or her media or data is
• Power and diversity of the data – we deliver an ex- used, through a platform created by Mediarithmics.
tremely diverse targeting quality. Our data targets It’s a win-win situation: the alliance will let compa-
are based on socio-demographic characteristics, nies break into markets that are out of reach today.
geolocation, interests, intentions, brand affinity So, Gravity is a way to build up a collective experi-
and even purchasing behaviour. More than 10 bil- ence that we wouldn’t be able to have individually.
lion characteristics of internet users or mobile users
are updated every month within the alliance com-
What do you think about the new
panies.
European Personal Data Regulation (GDPR)?
• Brand safety, the core of our offer – we provide

qualitative advertising environments along with We are fully concerned by the coming evolutions in
qualitative and mastered audiences. European regulation. More broadly, the effectiveness
and relevance of advertising is paramount to us. The
world of digital advertising should question itself and
Gravity is made up of different groups.
evolve, to find a practical and effective place within
How can the standardisation of data
the user experience. Gravity is a way to make adver-
achieve consistent targeting?
tising more relevant and therefore more in tune with
Well, that's the big challenge! That's why this alli- the user, by sharing data and having an efficient ad-
ance wasn’t so straight forward, and why the market vertising capacity.
waited a long time to go for it. First, we chose to use
a trusted third party, Mediarithmics, to simplify our
Is a log-in agency something you might
internal communication. They collect, process and
consider in the future?
standardise the data, according to certain criteria
that all of our partners follow. We know that the world of cookies is likely to more
Moreover, the alliance will be equipped with a data restrained in the future, so there’s already some
science team, whose work will be to validate and op- brainstorming about media logs. It’s not our priority
timize the data cross-over between companies. now, but it’s one of the projects that in the works. x
TV KEY FACTS 2017

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Focus.
General Data Protection Regulation
(GDPR)

Personal data protection is nothing new, and the implementation of the

GDPR will be the next step. New regulations and data protection laws are
catching up with the consistent technology evolution. The original GDPR
proposal started in 2012. The formal adoption of the laws have been ongoing
since April 2017, and come into force on 25 May 2018.

On one hand, the GDPR to make sure that none of the subject’s rights are
guarantees new rights for data infringed and has to prove that the GDPR rules are
subjects. followed. Furthermore, international transfer of per-
A data subject is any personal data or information sonal data is restricted and authorities have to be
relating to an individual. With the new regulation, notified immediately in cases of breach.
data subjects have to actively spell out consent; 14 million websites around the world currently
implicit consent will be banned and consent can offer the possibility to log-in with your Facebook
be retracted. It’ll also be possible to deny profiling. details. As a result, Facebook can access personal
Moreover, the data subject can request their per- data to track their users even outside their own
sonal data and is allowed to transmit it. platform.
This is something that Gravity (and similar struc-
On the other hand, the GDPR tures) can provide to advertisers. Using the personal
sets new obligations for the log-in, they could easily access viewing habits and
data controller and data shopping routines, as long as they ensure there won’t
processor. be a joint data pool. Those are currently the biggest
The data collector decides how to pro- advantages. Furthermore, forgotten log-ins won’t be
cess personal data. Processing per- a big issue anymore as click-and-buy will be the easy
sonal data will still be possible, but norm. x
the data collector/processor has
TV KEY FACTS 2017

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 Interview.

Addressable TV
in Europe
There is now a global picture of addressable TV in Europe and around the
world: smartclip in Germany, SkyAdsmart in the UK, tests with Orange and
SFR in France. Here is an insight into the recipe for success of smartclip, a
leading programmatic video platform and technological innovator.

What is smartclip?
How did the idea come about?
Today, smartclip curates the online video advertising
inventory – more than 700 publishers and broad-
casters worldwide – and manages the integration
and delivery of online video advertising to all inter-
net-connected devices for on-demand and linear
content. As a leading programmatic video platform
and technological innovator, smartclip develops
marketing technologies such as addressable TV and
out-stream video advertising.
In a nutshell, we intend to merge TV with digital ad
technologies to effectively combine ads and delivery
logistics. This is a huge step forward for the adver-
tising sector and for RTL in turn. It also represents
real value added compared to Google and Facebook,
because as of now, they don't have any comparable,
perfectly combined TV and digital products.

How does smartclip position itself when

Thorsten Schütte-Gravelaar set against other offers?
Managing Director
Addressable TV advertising is the new wave of inno-
vation, and experts predict that it will have a major  >
 Addressable TV
advertising will have a
major impact on the TV
advertising industry
within the next few
years.

40% of all households

are already receiving
addressable TV ads
in Germany
TV KEY FACTS 2017

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113
 impact on the TV advertising industry within the
next few years. For instance, Google has recently an-
nounced the availability of traditional TV inventory
in the US through DBM. But, addressable TV in the
US and Europe must be considered separately, as the
status, technologies and key players in these regions
are very different.

Addressable TV in the US
A study conducted by the Video Advertising Bureau1
claims that the footprint of addressable TV is 50 mil-
lion households in the US alone.
Addressable TV households are enabled through
set-top boxes using the infrastructure of operators
Addressable TV like AT&T, DISH and Comcast, with the inventory
limited to two minutes per hour. Google’s scoop
is about to take off
about addressable TV is about ad inventory now
in all major accessible on DBM through partnerships with SSPs
like WideOrbit, or using their own ecosystem, Goog-
European TV
le Fiber. Most of these concepts make TV inventory
markets like France, available in proprietary ecosystems, and only allows
1:1 real-time ad delivery on a limited scale, if at all.
Spain, the UK, Italy
In some cases, addressable TV refers to delivering
and Sweden. ads to TV content that isn’t broadcasted, but avail-
able through the operator or TV channel’s on-de-
mand selections.

Addressable TV in Europe
In Europe, addressable TV is defined as the merge
of online ad technology and traditional TV broad-
casting. Advertisers and broadcasters have already
been delivering 1:1 real-time ads into the broadcast
live stream since the end of 2015. Market-wide tech-
nology standards in Europe have paved the way in
allowing advertisers to provide real-time ad delivery
into broadcast TV on a large scale. In Germany, more
than 40% of all households are already receiving ad-
dressable TV ads, delivered by ad serving technology,
for more than 90% of all adfunded TV channels.
Smartclip is one of the key players for standardizing
addressable TV ad technology in Europe. By the end
of this year, smartclip will serve more than 50 pre-
mium TV channels throughout Europe using its ad-
dressable TV solution.
In 2015, the first live case of addressable TV in Europe ATV platform for their marketing scheme. Now it’s
was set up via the smartclip addressable TV plat- also possible for broadcasters at a European level to
form. This allowed advertisers and agencies to deliv- get on board.
er their advertising into linear TV in adserver-based
real time. Based on the HbbTV model, which is in-
What is the benefit of this technology
tegrated in web-enabled TV sets, advertising can
for advertisers in terms of reach,
be served via the smartclip adserver structure into
repetition and digital similarities?
broadcast channels according to online criteria. With
more than 16 million TV sets to control in Germany, A crucial asset is the intelligence, which allows the
which can be addressed when activated, the criti- contact classes to be controlled precisely and with-
cal reach for digitally controlled advertising cam- out any scatter loss. This includes frequency capping,
paigns has long been achieved. This doesn’t make creative optimization and targeting, to mention just
traditional ads any less valuable. On the contrary, a few. Addressable TV can add value to the TV ad-
it strengthens TV as an advertising medium overall. vertising landscape in many ways. It’s particularly
Smartclip makes this advanced technology available attractive because you can advertise regionally and
to broadcasters and is constantly enhancing it. The reach specific target groups, then use the feedback
next step is the ATV programmatic platform “A-TVx” to assess campaigns as well. Advertising messages
(SSP), which is especially catered to linear TV and al- can therefore be placed more efficiently and in a
lows broadcasting partners to take full advantage of more logical order.
data-driven, real-time advertising. Almost all the well-known free TV channels are hop-
ing to use smartclip to tap into a new customer
market – such as a regional furniture chain – as ad
How can you explain the fast and
campaigns can be applied from as little as 50,000
successful development of addressable
euros. On the other hand, existing customers should
TV in Germany versus other countries?
be able to increase their TV campaigns’ effectiveness
Addressable TV is about to take off in all major Europe- by targeting their traditional ads. >
an TV markets like France, Spain, the UK and Sweden.
With an estimated budget volume of 3 digit million
euros by 2020 in Germany alone, addressable TV is
expected to be a very healthy expansion of the core
business for broadcasters. So, it’s no surprise that
European broadcasters strive for solutions that keep
them in the driver’s seat and oversee the monetiza- Addressable TV
tion and data points of their TV inventory. combines the
As of this year, all relevant commercial TV broad- best of both
casters are offering addressable TV ad formats in worlds: broadcast
Germany to their customers, and they’ve been in TV and online
high demand. The reason is simple – because it’s advertising. Thanks
possible. The ATV platform lets broadcasters use an to this technology,
existing infrastructure for their marketing business, broadcasters allow
which makes for a fast, seamless integration. It also brands to deliver
lets them zero in on their core business, programmer a more personal
development and marketing. About two-thirds of all and relevant ad
relevant broadcasters in Germany use the smartclip experience.
TV KEY FACTS 2017

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The next step is sketched
out: the TV channels will
connect their offer to the
automated booking
process and will then be
able to deliver TV ads in
data-based real time
via adservers.
Smartclip technology is founded on three key el-
What does the HbbTV1 norm allow
ements: monetization, technology and services.
and what would be the benefit of an
Thanks to the new reverse channel capability, broad-
HbbTV2?
casters can now use reach and awareness in real
time and customized TV – from product storytelling Further enhancement of HbbTV2 would make the in-
to POS integration. Again, this doesn’t make tradi- terplay between TV and online video even more fluid.
tional ads superfluous, but actually strengthens TV It would replace the ad break with digitally targeted
as an advertising medium overall. Traditional linear spots. All the know-how that suppliers and advertis-
TV can now match up with global, digital platforms. ers have gained today through addressable TV ad
Data-based advertising is possible in TV, which is the formats (HbbTV1) can be immediately put into action
leading medium for engaging an audience. for the next development stage. As planning at a 1:1
The technology boosts TV channels’ access to new level for devices is a completely new approach to TV,
customers and extends the opportunities for their we have to learn the ins and outs to offer totally new
existing customers. This is real growth potential in opportunities for the creative process, and ways to
an increasingly fragmented market. The number of address customers. All in all, timing and experience
networked smart TV devices in households is growing are the determining factors in the competitive world
at a rapid pace, along with addressable advertising. of advertisers.

What are the results so far? What’s in the cards for the coming
months and years?
In recent months, campaigns adding up to more
than three figures have been carried out via our With addressable TV, we’ve ushered in a new field of
platform in Germany. As we’ve been teaming up TV marketing that we’re continually developing. As of
with many well-known broadcasting partners, we’ve now, we’ve launched the first programmatic broad-
been able to achieve the necessary reach that ma- caster platform, the A-TVx, that is especially devised
jor advertising clients in the FMCG, automotive and for linear TV market. The next step is sketched out;
finance sectors need for their advertising strategies. the TV channels will connect their offer to the auto-
Addressable TV can add value to the TV advertising mated booking process and will then be able to deliv-
landscape. It’s particularly attractive that the ad- er TV ads in data-based real time via adservers. The
vertising can be controlled for target groups or even first live tests have been successfully carried out in
regionally, and then data can also be obtained to Germany with IP Deutschland. It’s a unique market
assess the campaigns, too. Advertising messages strength for broadcasters as they have access to TV
can thus be placed more efficiently and in a more usage data. They’re the only ones who can offer a
meaningful sequence. No other digital advertising necessary marketing push to the top advertisers, who
format is on par with such a high reach, while still invest the biggest part of their advertising budget in
offering targeted delivery in a high-quality, brand- TV. We’re now conducting intensive test stages with
safe environment.  large broadcasting groups throughout Europe to
The forecasts are correspondingly optimistic: ad- branch out their marketing offer. x
dressable TV is a significant key to branching out 1
Video Advertising Bureau Addressability Report: www.thevab.com/wp-content/
uploads/2016/11/VAB-Addressability-Report.pdf
businesses and is leading the market’s evolution. This
is confirmed in Germany by the surge in campaigns
and campaign volumes.
TV KEY FACTS 2017

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 TV KEY FACTS 2017

The Voice van Vlaanderen

VTM, Belgium

118 
119
 The Future of
Connected
Experiences
When we look at how Gen Z kids go about their daily routines, there is rarely
a single situation in which they’re isolated.

Technology enables a constant connection with our

peers; we let our friends have a peek at what music
we are listening to, we tag each other in relatable
memes, and have a constant stream of messages in
our numerous WhatsApp groups. With continuously
evolving technological devices, the question remains: In a more
what’s next for the future of connected experiences?
distant future,
What digitally empowered forms of apart-to-
getherness will we witness in the upcoming we’ll even
years? Let’s see.
be able to
Facebook recently announced plans to produce TV-
like shows. In the future, social platforms will be our share smells
prime source for content. Not only for news content
and thoughts,
Bianca Stockreiter or personally shared content, but for all media and
Innovation Analyst entertainment content as well. even if we’re
Twitch, the social gaming platform, is already paving
actually
the way in this direction. We might live in different
cities but we can meet up on Facebook to watch a sitting alone
TV-like series. We’ll laugh and cry, and when we tell
in our living
other people about it, it’ll sound as if it were a real
date, because digitally connected experiences room.
will be just as real as a get-together in person.
Even though video live streaming has taken a bit
of a hit after a big hype two years ago, the ball is
still rolling towards real-time connection. Will it take
off again? I say yes. Right now, we’re on the brink
of moving from pre-recorded stories to live stories,
like on Instagram or Snapchat for example. But there
still are limitations, such as data bandwidth and de-
vice maturity. Soon, the next wireless telco-standard
5G will roll out. What’s more, smartphones and oth-
er wearable devices will have much better technical
specs for cameras, microphones and sensors. Once
these barriers are gone, there is – technically –
nothing getting in the way of a live stream for
everyone’s daily life.
Let’s look even further down the line. Virtual reality
will expand our understanding of what it can mean
to be apart together. Social Hangouts in headsets
like Oculus Rift and PlayStation VR will bring on a
much deeper level of connection. Friendships and
dating will have a second home. The next gen-
erations of VR will charm us with the trans-
mission of touch or temperature. In a more
distant future, we’ll even be able to share
smells and thoughts, and design virtual
experiences exactly the way we want to.
We’ll be able to really feel what’s hap-
pening, even if we’re actually sitting
alone in our living room.

Whatever the future holds

– as long as the emotions
we feel are real – the con-
nected experience will be
real for us.  x

TV KEY FACTS 2017

The Big Bang Theory

Q2, Belgium

120 
121
 The 4 Key Levers
of Ad Quality
Before Ad Now Ad
Ad
Ad Ad
In traditional media Ad With the increasing automation of
buying, you knew Ad today's digital media buying, you
Ad
Ad
x
where you were are no longer buying media, but
advertising, audiences. This shift has led to far
but not who was greater efficiencies for buyers and
viewing your ad. sellers, but has also created a lack of Ad
x Ad
transparency for advertisers on where Ad
their ads are being placed.

Ad quality revolves around 4 key elements:

• Viewability
• In-target
• Invalid traffic (IVT)
• Brand safety

Viewability benchmarks
In most markets, around half the ads did not have the opportunity to be
seen (OTS). Optimising campaigns in-flight is therefore essential - by
market, publisher, placement and creative.

Viewability: overview
% In-view for desktop display

Canada Germany
55% UK 50%
49%
France
US 50%
55% Spain Italy
54% 54%
Martin Bromfield Mexico
54%
VP Advertising EMEA
Brazil
53% Australia
48%

Source: comScore vCE Q1 2017 Advertising Benchmarks

 In-target benchmarks
In a nutshell
Across the globe, the majority of display ads delivered did not
reach their primary target. In-target rates ranged from: 39%
1.F ilter-out unsafe
in France to 52% in Brazil.
impressions
Overview pre-bid
% In-target for desktop display •C
 hoose from a rich set
Canada
Germany of brand protection
44% UK 44% category filters to
44%
France avoid bidding on
US 39%
48%
Spain Italy unsafe inventory
43% 47% •C
 ustomize and
Mexico India
40% 47% Taiwan refine your brand
51%
Brazil safety criteria with
52%
your own keywords
Australia
43% •C
 reate and

maintain blacklists
Source: comScore vCE Q1 2017 Advertising Benchmarks
and/or whitelists
based on page-level

Invalid traffic brand safety criteria

Programmatic buys are more susceptible to invalid traffic than 2. Protect your brand
are direct buys. IVT rates on programmatic video more than in-flight
triple those seen through direct buys. •S
 et real-time
alerting and
High-value ads attract the most IVT
blocking to identify
IVT rates IVT rates
(desktop display) (video) and protect against
unsafe content
throughout the
3.6% 5.2% 2.0% 7.6% campaign lifecycle

3. Evaluate delivery
Direct Programmatic Direct Programmatic post-campaign
•U
 nderstand where
Source: comScore Global Snapshots based on Q1 2017 comScore vCE Advertising Benchmarks
threats persist
across all media
partners through
Brand safety comprehensive
post-campaign
With the amount of negative publicity that brands have endured
reporting
from advertising against inappropriate content, this is becoming
•R
 efine blacklists
an ever more vital part of the campaign validation process, not
and whitelists to
only to reduce wasted spend but, more importantly, to reduce
target
reputational damage.
TV KEY FACTS 2017

122 
123
 TV KEY FACTS 2017

La France a un Incroyable Talent

M6, France

124 
125
 Focus. More Targeting Solutions

The “CAT” in the

Cross-Media Jungle
How to measure and value every
media solution in a cross-media project

Technology has changed our lives: communication has improved, touchpoints

have increased, and media consumption begins when you get up and lasts
all day long on multiple platforms. For customers, it’s essential to redefine
the communication process and content, while optimizing the cross-media
strategies to cater to their target, maximising their consumer reach.

In the advertising market, information and

data are in high demand, so in 2013, Rai Pub-
blicità started its advanced test to provide its
customers with an effective cross-media au-
dience measurement tool. The Cross Audience CAT is a

Tool (CAT) is a multimedia and cross-media
multimedia and
measurement tool. CAT allows you to get du-
plicated and unduplicated metrics like GRP, cross-media
reach, OTS for projects based on cross-media
measurement
programmes or cross-media customer plans.
One example is a project based on the multime- tool, made
dia Euro Football Championship 2016 programme.
possible by
Using CAT, Rai Pubblicità measured its cross-me-
Elena Nigra dia football event bundle giving customers a adding and
Media Scene Manager complete analysis of each media contribution.
linking each
The Euro Football Championship reach high au-
dience numbers with TV but with cross-mediality media currency
Rai Pubblicita’s customers have had even bet-
and media data
ter results. In fact, the radio worked on OTS and
boosted its exclusive reach by 2%. The web added estimations.
an additional 1% of exclusive reach. In the end the
plan reached a wider total audience of 85.3%.
Another interesting example for using CAT is In the age of multimedia and addressable media,
cross-media customer planning: brand X wanted to companies are more and more interested in talking
reach a socio-demographic target, and the Rai plan to specific consumers and minimizing the dispersion
had the following investment share: 69% TV, 14% ra- of contacts. With CAT, they can anticipate brand
dio, 10% digital and 7% cinema. consumers, non-consumers, product categories,
Also, in this case, the contribution of each media is and consumers of competing products, as well as
fundamental, and for many reasons, in addition to TV, heavy, medium and light users.
the total audience was almost 14 million. The TV reach The tool can also work on value targets; engaging
was 41.8% and, as usual, cross-media planning gave communication should be integrated, coherent, and
back better KPI results than mono-media planning. communicate the values of ​​ the brand so that people
Thanks to cross-media planning for the radio, the understand them, as they are their values too. This
customer was able to reach 19% of its target,10.6% of means not only to get the message across, but also
which was exclusive. On the digital front, its reach was to establish a relationship.
around 1.9% with an exclusive reach of 1.1%. Rai Pubblicità has recons tructed the 10 categories
Today, with more touchpoints for customers, it’s es- of values that are most frequent in communication
sential to redefine the communication process, to strategies and those being used to understand the
tap into each media solution’s strengths and use identity of commercial brands.
cross-media projects to reach higher efficiency. Rai Finally, CAT and others tools help Rai Pubblicità to be
Pubblicita’s tools can also measure cross-media pro- more competitive on cross-media measurable projects
jects on many different targets like consumption or around quality content, using all the touchpoints in the
value targets. best context to be engaging, integrated and coherent. x

CAT Euro Football Championship 2016

85.3%
Total Audience

44 618 000
TV Reach Adults 14+
82.5%
Overlapping Web

Overlapping Radio
4.2% Total TV 82.5%
27.4%
Total Radio 29.2%
Exclusive Web

1.0% Total Web 5.2%

Exclusive Radio 1.8%

TV KEY FACTS 2017

Source: Rai Pubblicità on GfK-Mediasoft data

126 
127
Focus. More Targeting Solutions

Behavioural
Targeting at M6
While socio-demographic targeting on TV has proved to be an efficient way to
select the right audience, M6 Publicité has enriched the targeting approach
by adding an affinity and behavioural brick to the existing core target group:
Adults 25-49.

Methodology: a merger between will generate common value between M6 thematic

Kantar TGI and Médiamétrie data programmes and advertising sectors.
The Kantar TGI panel is a media-market tool that
links socio-demographic, media consumption, con- Usage: implemented in agency
sumer behaviours and attitudes on an individual lev- planning tools to control and
el. Based on Kantar TGI items reflecting behaviour optimize TV plans
and attitudes, M6 has defined 6 key target groups Behavioural targeting will help advertisers and agen-
as heavy consumers, digitally connected and recep- cies select the ad-breaks in affinity with the new
tive to innovation. Individuals in these target groups target groups and achieve better business results for
were linked to Médiamétrie panel members to fuse an equal budget and cost per GRP. This targeting
data from both panels allowing to focus on their TV has delivered daily data on the 6 target groups since
consumption. This new way of targeting consumers September 2016 and back data from September

Manual spot-by-spot optimization of planning

GRP Women 25-49 GRP Stylistas Impact index

78 80
78
98
102

1st plan Optimized plan 125

 The 6 Profiles
Stylistas/Women 25-49
(3.3M Individuals)

Foodistas/Women 25-49
(4.7M Individuals)

Home Movers/Adults 25-49

(3.7M Individuals)

Deco lovers/Women & Adults 25-49

(4M Women & 6.2M Adults)

Connected Shoppers/Adults 25-49

(8.6M Individuals)

2015 onwards in audience, planning, ad tracks

and post-campaign analysis tools. These target
groups cannot be bought, they only serve to
optimize plans on existing target groups.
An example of optimized plan: manual spot-
by-spot optimization of planning to select
ad breaks with a higher impact index
(+23 pts gain on Stylistas vs Women
25-49), while maintaining the same
budget, cost per GRP, day parts
& reach on the reference target
group, Women 25-49.  x
TV KEY FACTS 2017

Top Chef
M6, France

128 
129
 Focus. More Targeting Solutions

Spott
by Appiness
IP Belgium is offering new forms of interactivity to advertisers thanks
to the Belgian Spott application! Two features are offered.

E-Shopping for products seen on

screen
Spott allows viewers to buy products seen on pro-
grammes in one click. The app is active for numerous
TV shows on RTL TVI, Club RTL & Plug RTL – 3 and a
half hours of broadcast per day – addressing many
different viewer profiles.

Interactive advertising
During ad breaks, TV Spott, marked with the Spott
logo, allows viewers to interact immediately with the
advertiser’s brand using the app, to activate a call-
to-action promotion. Interactive spots will be placed
Ludovic de Barrau in preferential position (last position).
IP TV Director

Spott downloads in Belgium

70,400 57,600
The case: JBC & Spott interactive
advertising campaign on The campaign resulted in 10,000 new JBC brand sub-
RTL Belgium channels scriptions on the Spott app, 106,000 page views for
Online fashion retailer JBC has added Spott’s inter- the brand via the app, 9,400 products clicked and
active feature provided to its TV Campaign from 310 products bought! Using Spott as an interactive
10 October 2017 to 22 November 2017. The incentive element boosted viewer engagement for their TV
includes a 10% rebate for viewers who synchronize campaign and made the JBC brand more likeable
their Spott Apps with the spots! and innovative. x

TV KEY FACTS 2017

130 
131
 TV KEY FACTS 2017

Scorpion
RTL TVI, Belgium

132 
133
 Advertisers' Insights.

Bring Emotionality
to a Technological Topic
Global versus Local However, after increasing budgets and ad pressure
Ten years ago “Globalisation” was the buzz word year after year visibility turned out to be missing. As
in every country. Advertisers loved the idea of bun- a service provider with branches all over Germany
dling together know how and centralised steering of it is important to show the logo and the colours so
budgets and negotiations. What many seem to have that customers can find us. Additionally our offer
forgotten these days is the old but timeless phrase needs to be explained. It is much easier to under-
“All business is local”. As a service company with stand how windscreens can be repaired if you can
more than 350 branches throughout Germany, see the technology.
localisation is extremely important for us. In case of In a nutshell: with video we are able to explain our
any damage incurred, a customer needs help imme- relatively complex product. What’s more, it enables
diately; he wants somebody who understands his us to bring emotionality to a technological topic and
needs. Proximity not simply in terms of local availa- to educate people quickly and in an entertaining
bility but also as an emotion is a very relevant need. manner.
This is something we can deliver locally, supported
by the quality and safety guaranteed by a huge glob- Challenges for data usage
ally active company. Over the years we learned that In the early stages, our customers could reach us by
in terms of glass damage all people throughout the telephone or drive directly to one of our service cen-
world seem to have similar needs. This is why we share tres. Today, increasing digitization has created fur-
best practice with our colleagues across the world. ther touchpoints for our customers and has made
However, when it comes to local needs and specifics things like “opening hours” obsolete. Nowadays, our
we strongly believe in customers seek further information on the website
local strategies. by using different mobile devices (smartphones,
tablets, etc.) or receive detailed information of their
Strengths appointment via the Carglass® App. The challenge
of video nowadays is to collect and merge all these data and
advertising make it attributable to each unique user from the
Until 2009 Carglass® very beginning and to create insights for a holistic
was famous for a com- statement to derive a strategic recommendation.
pletely unusual com- Especially when advertising we need to understand
munication strategy. the effects of this on our business. We can do so by
The brand was built identifying the isolated advertising impact of either
by a mono radio cam- mono campaigns or the synergy effect of media mix
paign. With 60 second campaigns. x
spots and massive ad
pressure we managed
Bianca Brueck-Sartorius
to build a remarkably
Senior Media Manager
high brand awareness.
 Being Closer
to People Is Paramount
Global versus Local way at scale. The higher the attention the highest its im-
Media strategies need to remain fully attuned to the pact on both equity and sales. We know that video does
local media landscape specificities and capitalize on not need to have our consumers full attention to work,
the local cultural events to best maximize our return frequency contributes to building the necessary famili-
on investments. In a world where the last decades of arity which removes barriers to purchase and its strong
globalization are being challenged, the acceleration weekly reach across standard and digital screens to driv-
of automations are looming over the labour market ing our sales. Short unskippable format is our preferred
and consumers' trust in all institutions is at the low- standard in this space. We have however realized that
est, being closer to the people we seek to engage we now need to communicate on topics we were not
into our brand experiences is paramount. used to communicate (quality, sourcing) and that we
Having said that, we also have to adjust to strong need to increase the relevance of our products among
and growing global trends: people around the world our consumers lifestyle either by involving them in the
keep on migrating from local traditional media scenes construction of our brands, entertaining them, helping
to global digital platforms and we cannot ignore that, them or educating them. Video is obviously a fantastic
in this space, companies like ours need to equip them- tool to help us fulfilling those objectives but we then
selves with new organisational set-ups, systems and need to ensure that we deliver content on our audience
talents to best deal with both the growing complex- terms and we will track our success in terms of first
ity of the new media plan and the higher consumer engagement (completion / likes / comments) and then
and technological expectations. The role of the global when the content is really strong shareability.
teams are very rapidly evolving and we are gravitating We know that high quality placements and better tar-
towards a much more geting drive both higher returns and stronger engage-
complementary set up ment so we will favour and be ready to pay a premium
where all teams with- for it, as long as it remains proportional to the return
in the matrix deliver a and brand equity uplift we notice in our effectiveness
unique contribution. analysis. Obviously, this will be among human, visible
and measured inventories.
Strengths
of video Challenges for data usage
advertising I have a plethora: sourcing it, scrutinizing it, assess-
Video advertising re- ing its cost effectiveness once you have paid all the
mains the most effective tech taxes, scaling it, exploiting it with marketers.
tactic into marketers’ ar- just to name a few.
senal to bring consum- And with the European laws drafted by people
ers down the purchase remotely interested and educated on the topic, a
funnel. Video tells both growing consumers’ concern around data privacy.
Geraud Benoit
consumer and product We are left with a lot of questions as to its true sus-
Group Media Director
stories in a multisensory tainability at least in Europe. x
TV KEY FACTS 2017

134 
135
Case Studies.
Online Campaign, Product Placement, TV Spots & Sponsorship

When Lastminute.com
Meets Talent Shows
The Objective.
To increase Lastminute.com's popularity and visibility
in France and the UK, and attract new customers.

The Media Partners.

The campaign was based in the UK on the famous
X Factor TV show broadcast on ITV and the affiliated
Facebook page, as well as the French talent show,
La France a un Incroyable Talent, broadcast on M6.

The Brand Idea.

Associate the brand with the most popular French
and British talent shows and create an original op-
eration focused on brand storytelling around travel, An exclusive package was set up, surprising a con-
music and entertainment, to impress and galvanise testant with a sightseeing tour across London and
the target audience. a museum visit. New York and Los Angeles holiday
prizes were arranged for the home viewer competi-
tion. Finally, a live final partnership was put in place
The Plan. with the Top Secret Hotel’s Package: purchase a ho-
UK tel room in London and earn 2 live final tickets.
A strong online campaign kicked off with pre-show France
warm-up Facebook lives and the broadcast of The brand sets up a sponsorship deal for the program
“Last-Minutes.com moments”, a short & entertain- for 8 weeks, and a series of 20” licensed TV spots fea-
ing video series hosted on Youtube, The X Factor app turing Eric Antoine, a famous French magician & hu-
and the website. On top of that, an in-show product morist, who invited the audience to play on Twitter
placement was organized around travel thematic: using the hashtag #vacancesmagiques, to win a trip
the Girls and the Overs received a magenta envelope offered by Lastminute.com. In addition, a microsite
with a branded card announcing that they were go- was launched with contest explanations, added con-
ing to the dream judges’ house in Los Angeles and tent about the show, brand presence and promotions
Malibu with lastminute.com. activation. This buzz was posted on Facebook as well.

The Results.
UK France
Facebook Lives Results “Lastminutes.com Moments” Live Final Partnership TV SPOTS
Results
Lastminute.com sold 123.6 GRP 25-49 y.o.
126.3K total
views
65 hotel rooms 23 090 952 contacts
average 338.39K total views
63.15K views in a week
SPONSORSHIP
56.39K average views
67.67K views on most
watched video 794.6 GRP 25-49 y.o.
89.49K views on most
watched video
148 447 172 contacts
Case Studies.
Telepromocion & Licensed spot

Paypal Attracts Attention

of Consumers with
Telepromotion!
The Objective.
PayPal was looking to attract the attention of Span-
ish consumers, develop its brand visibility and moti-
vate the target audience by linking up with a famous
talk show.

The Media Partners.

El Hormiguero
The first talk show in Spain, El Hormiguero, broad-
Antena 3, Spain
casted on Antena 3 and hosted by Pablo Motos and
Ana Morgade.

The Brand Idea.

A creative idea for effective package based on tel-
epromotion, and a special licensed spot to promote
services and be in affinity with the core target – urban
upper-class adults – while reaching a large audience.

The Plan.
Zapeando
La Sexta, Spain
A telepromotion package has been set up during the
show: a 45-second endorsement with Pablo Motos
and Ana Morgade. During this special operation,
the two hosts focus on PayPal services through a
creative dramatisation in which Ana explains how The Results.
she bought her new glasses. She highlights the us- The plan was a success, with a great volume of
er-friendliness and the safety of the online payment, reach generated in a minimum amount of time:
and finally convinces Pablo to use it.
Plus, PayPal ran a series of licensed TV spots (25 x 106.5 GRP
30 seconds) with Ana Morgade, in which she gave a on Adults 16+ (50,9% REACH)
breakdown of PayPal’s services. The environment for
this spot was El Hormiguero (Antena 3) and Zapeando
(La Sexta). Ana Morgrade sent out 3 tweets and 84.8 GRP
on Adults 25-44 ABC 1 (44,5% REACH)
3 Instagram posts for a social media boost.
TV KEY FACTS 2017

136 
137
Case Studies.
Special Ads

Exclusive Concept to Boost

Marc Cain's Image
The Objective.
Marc Cain, a premium women’s fashion brand,
wants to increase client loyalty with content devel-
opment and create a closer connection and identifi-
cation with the format.

The Media Partners.

Holland’s Next Top Model
Holland’s Next Top Model, a popular fashion TV show
RTL 5, The Netherlands
broadcasted on RTL 5. This year, the programme is
going through a few changes that are beneficial for
the brand image: more up-market positioning, clos- A plan to create more buzz is in the works: media
er connection to YouTube & social media, and a new posts on Marc Cain website and setting up MPN pre-
presenter called Anna Nooshin. rolls on Anna’s YouTube channel.

The Brand Idea.

To develop the brand image using an original pack-
age: a sponsorship with Holland’s Next Top Model and
partnering up with a famous fashion expert who’ll
become the spokesperson for Marc Cain.

The Plan.
Marc Cain becomes the official sponsor of the show,
with a presence on 36 billboards and 9 exclusive TV
Anna Nooshin
episodes. Midrolls have also been set up for a strong-
er online presence.
Anna Nooshin is about to become the ambassador
of the brand through several strategies. The TV host
will wear Marc Cain outfits during 3 episodes and
create additional on-air brand moments: shopping,
backstage before show, after show, etc. The Results.
To push the campaign further, an online integra-
tion and a vlogger endorsement with Anna Nooshin
will be launched to motivate the online community. 200,000
There’ll be a raffle of one outfit, 3 vlogs on her You- Ads Impression
Mid-rolls
Tube channel and 3 posts on her Instagram page.
Case Studies.
Sponsorship and 360°

Haier & Das Perfekte Dinner:

a Powerful Sponsorship
The Objective. The Plan.
To help Haier, the world's top refrigerator producer, A comprehensive double package: firstly, a sponsor-
to promote its range of products in Germany and ship campaign from May to July 2017 that boosts the
create a positive sales impact with an efficient op- brand image and increases its reliability. Secondly, a
eration. one-year 360° licensing campaign to raise brand visi-
bility. This licensing offer includes distribution discus-
The Media Partners. sion and events, website homepage presence, social
Vox, a strong channel in Germany, associated with media activation, mailings, and a presence on sever-
the popular cooking TV show Das perfekte Dinner. al point of sales.

The Brand Idea.

To gain viewers’ confidence in Haier’s products and
help them identify with the participants of the culi-
nary TV show thanks to a combined sponsorship with
content affinity, as well as a licensing agreement for
instore impact.

TV KEY FACTS 2017

138 
139
Key Tables.

Viewing Time
Viewing Time Per Individual in Minutes

Target 2014 2015 2016 Maximum Viewers

Group Peak During Peak
Country Individuals Mon–Sun Mon–Sun Mon–Sun Mon–Fri Mon-Fri

Austria 3+ 162 161 +4.3% 168 20:45 2 839 080

Belarus 4+ 227 227 +2.6% 233 21:15 2 584 294
Belgium North 4+1 201 197 = 197 21:00-21:15 2 619 815
Belgium South 4+1 233 237 +3.0% 244 21:15 1 822 128
Bulgaria 4+ 223 231 +2.2% 236 21:15 2 587 440
Croatia 4+ 259 266 = 266 21:15 1 750 111
Cyprus 4+ 210 205 -0.5% 204 21:45 312 245
Czech Republic 4+ 207 206 +1.5% 209 20:45 4 107 464
Denmark 3+ 173 172 -7.0% 160 20:45 2 006 819
Estonia 4+ 221 228 +2.6% 234 21:00 541 632
Finland 4+ 176 171 +0.6% 172 20:45-21:00 1 970 202
France 4+ 221 224 -0.4% 223 21:15 25 199 776
Germany 3+ 221 223 = 223 21:00 31 458 101
Greece 4+ 257 269 -4.1% 258 22:30 4 008 207
Hungary 4+ 288 286 -1.4% 282 20:45 4 285 939
Ireland 4+ 184 185 -3.2% 179 21:15 1 509 293
Italy 4+1 262 254 -2.4% 248 21:30 26 182 430
Latvia 4+ 210 211 -7.6% 195 21:00 753 876
Lithuania 4+ 204 214 +5.1% 225 21:15 1 007 188
Luxembourg 12+ 1412 1603 +0.7% 1614 21:00 223 000
Macedonia 4+ 272 280 -1.8% 275 21:30 779 554
Netherlands 6+ 200 190 -3.7% 183 21:00 6 657 200
Norway 2+ 163 161 -3.7% 155 21:45 1 559 066
Poland 4+ 260 264 -0.8% 262 20:45 15 330 105
Portugal 4+ 296 283 +1.4% 287 21:45 4 832 316
Romania 4+ 340 327 +0.6% 329 21:00 8 203 607
Russia 4+ 244 246 +0.8% 248 20:45 23 887 630
Serbia 4+ 304 315 +0.6% 317 21:15 3 039 350
Slovakia 4+ 228 228 +1.0% 235 21:00 2 241 635
Slovenia 4+ 199 206 +4.4% 215 n.a. n.a.
Spain 4+ 239 234 -1.7% 230 22:30 18 033 030
Sweden 3+ 153 154 -3.2% 149 21:00 3 439 000
Switzerland (G) 3+ 128 124 = 124 21:15 1 573 200
Switzerland (F) 3+ 143 144 = 144 21:15 600 399
Switzerland (I) 3+ 177 172 -0.6% 171 21:30 135 600
Turkey 5+ 247 244 = 244 21:45 22 413 727
Ukraine 4+ 262 249 -0.8% 247 21:15 14 775 894
United Kingdom 4+ 221 216 -1.9% 212 21:15 14 775 894
Total Europe 237 235 -0.4% 234*
EU6 234 232 -0.9% 230
China 4+ 157 155 -5.8% 146 n.a. n.a.
India 4+ n.a. 136 +4.4% 142 n.a. n.a.
Japan7 4+ 264 262 = 262 n.a. n.a.
United States 2+ 282 274 -1.5% 270 21:15-21:30 106 234 672

Including guests; 2Data for 2013/2014; 3Data for 2014/2015; 4Data for 2015/2016; 6Weighted average without Malta; 7Kanto region.
1

*
RTL AdConnect's own calculations.
Source: EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
Key Tables.

Digital TV
Only
Digital Digital Digital Analogue
TV HH All Digital IPTV Cable Satellite Terrestrial Terrestrial
Country in 000 in % of TVHH in % of TVHH in % of TVHH in % of TVHH in % of TVHH in % of TVHH

Austria 3 693 90.3% 8.7% 22.5% 54.1% 5.0% 0.0%

Belarus 3 797 65.0% 38.0% 7.7% 7.3% 12.1% 0.0%
Belgium 5 264 91.8% 32.2% 51.9% 6.2% 1.5% 0.0%
Bulgaria 2 926 96.6% 10.2% 18.9% 36.7% 30.8% 0.0%
Croatia 1 507 99.2% 26.1% 9.7% 10.7% 52.7% 0.0%
Cyprus 302 94.8% 42.5% 11.6% 3.9% 36.8% 0.0%
Czech Republic 4 312 95.7% 7.3% 11.7% 29.9% 46.8% 0.0%
Denmark 2 384 100.0% 21.4% 53.9% 6.6% 18.1% 0.0%
Estonia 561 90.5% 32.7% 30.2% 6.6% 21.0% 0.0%
Finland 2 495 100.0% 13.9% 60.9% 4.5% 20.7% 0.0%
France 28 383 98.4% 41.4% 5.8% 28.2% 23.4% 0.0%
Germany 38 320 75.8% 6.0% 19.4% 43.8% 6.6% 0.0%
Greece 4 372 100.0% 3.0% 0.0% 26.6% 70.3% 0.0%
Hungary 3 890 79.6% 15.4% 21.5% 23.1% 19.6% 0.0%
Ireland 1 578 98.2% 5.0% 16.9% 55.5% 20.7% 0.0%
Italy 23 412 100.0% 1.9% 0.0% 29.5% 68.5% 0.0%
Latvia 741 88.9% 21.1% 25.9% 13.9% 28.0% 0.0%
Lithuania 1 209 82.5% 16.9% 14.4% 8.3% 42.8% 0.0%
Luxembourg 232 100.0% 23.2% 37.2% 19.9% 19.7% 0.0%
Macedonia 560 76.7% 18.0% 12.5% 4.0% 42.2% 0.0%
Netherlands 7 451 90.8% 30.3% 47.8% 7.7% 4.9% 0.0%
Norway 2 300 98.6% 20.2% 31.2% 29.8% 17.4% 0.0%
Poland 13 008 87.8% 3.4% 21.7% 48.6% 14.0% 0.0%
Portugal 3 869 100.0% 41.9% 32.9% 16.8% 8.3% 0.0%
Romania 6 952 74.3% 1.1% 33.5% 36.2% 3.4% 0.0%
Russia 52 707 73.9% 10.8% 7.7% 40.9% 14.5% 3.3%
Serbia 2 430 78.9% 20.3% 18.7% 11.6% 28.3% 0.0%
Slovakia 1 720 82.3% 15.7% 17.5% 33.6% 15.4% 0.0%
Slovenia 849 97.7% 37.1% 28.9% 6.3% 25.3% 0.0%
Spain 18 162 100.0% 20.3% 8.0% 6.6% 65.1% 0.0%
Sweden 4 450 74.8% 17.4% 16.5% 15.7% 25.2% 0.0%
Switzerland 3 321 97.8% 41.3% 51.1% 3.5% 1.9% 0.0%
Turkey 21 148 86.7% 3.6% 4.6% 78.6% 0.0% 12.1%
Ukraine 15 011 87.7% 0.9% 5.8% 24.9% 56.1% 0.0%
United Kingdom 26 460 100.0% 9.1% 13.7% 47.6% 29.6% 0.0%
Total Europe 307 684 87.7% 13.5% 14.2% 35.1% 24.9% 1.4%
EU1 206 494 91.5% 15.0% 16.8% 31.3% 28.5% 0.0%
China 412 981 92.1% 21.0% 45.7% 22.7% 2.7% 1.3%
India 174 485 84.0% 0.1% 42.3% 41.7% 0.0% 0.5%
Japan 51 291 100.0% 7.8% 56.2% 30.7% 5.3% 0.0%
United States 119 864 98.9% 9.3% 42.0% 28.2% 18.3% 0.0%
TV KEY FACTS 2017

1
Without Malta.
140 
Source: IHS Markit, EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE.
141
Key Tables.

Best Single Programme 2016

Rating Share
Country Name Channel Genre in % in %

all individuals

Austria ZEIT IM BILD 1 ORF 2 News 20.6% 53.8%

Belarus NOVOGODNIY GOLUBOY OGONEK (NEW YEAR'S PROGRAMME) ROSSIA-Belarus Variety Show 14.3% 34.2%
Belgium North DE SLIMSTE MENS TER WERELD (THE SMARTEST PERSON IN THE WORLD) Vier Game Show 26.9% 52.9%
Belgium South L'AMOUR EST DANS LE PRÉ (FARMER WANTS A WIFE) RTL TVI Reality Show 19.5% 42.8%
Bulgaria KONCERT NA SLAVI TRIFONOV I KU-KU BEND (SLAVI TRIFONOV AND KU-KU BAND CONCERT) BTV Variety Show 20.2% 51.5%
Croatia SUPER TALENT Nova TV Talent Show 21.3% 43.3%
Cyprus EUROVISION SONG CONTEST 2016 FINAL (EUROSONG/FINAL) RIK 1 Variety Show 18.9% 67.1%
Czech Republic PRAVÝ RYTÍR (THE TRUE KNIGHT) ČT 1 TV Movie 31.2% 65.0%
Denmark X FACTOR AFGØRELSEN (X FACTOR/RESULTS) DR 1 Reality Show 30.1% 72.4%
Estonia SU NÄGU KÕLAB TUTTAVALT-FINAAL (YOUR FACE SOUNDS FAMILIAR) TV 3 Variety Show 29.8% 55.0%
Finland ITSENÄISYYSPÄIVÄ: LINNAN JUHLAT (INDEPENDENCE DAY CELEBRATION) YLE TV 1 Variety Show 50.3% 88.0%
France AU RENDEZ-VOUS DES ENFOIRÉS TF 1 Variety Show 19.9% 49.9%
Germany FACK JU GÖHTE Pro 7 Movie 11.8% 27.0%
Greece AL TSANTIRI NEWS Alpha News 18.4% 40.2%
Hungary A NAGY DUETT (CELEBRITY DUETS) TV 2 Game Show 17.6% 35.9%
Ireland THE LATE LATE TOY SHOW RTÉ ONE Talk Show 38.4% 76.2%
Italy 66 FESTIVAL DI SANREMO (66TH SANREMO MUSIC FESTIVAL) Rai 1 Variety Show 21.7% 48.7%
Latvia ES MILU TEVI, LATVIJA! TV 3 Variety Show 13.8% 31.1%
Lithuania EUROVIZIJOS DAINŲ KONKURSAS 2016. FINALAS (EUROSONG/FINAL) LRT Variety Show 20.2% 61.5%
Macedonia SE ILI NESHTO (DEAL OR NO DEAL) Sitel Game Show 18.9% 42.9%
Netherlands EUROVISIE SONGFESTIVAL/FINALE (EUROSONG/FINAL) NPO 1 Variety Show 27.5% 64.5%
Norway MESTERNES MESTER (ETERNAL GLORY) NRK 1 Reality Show 33.0% 69.1%
Poland ROLNIK SZUKA ZONY (FARMER WANTS A WIFE) TVP 1 Reality Show 14.4% 31.7%
Portugal A UNICA MULHER II TVI Telenovela 18.7% 35.1%
Romania ROMANII AU TALENT (GOT TALENT) Pro TV Reality Show 20.1% 37.1%
Russia NEW YEARS ADDRESS BY RUSSIAN PRESIDENT PUTIN Perviy Special Event 13.2% 29.8%
Serbia DNEVNIK 2 RTS (NEWS 19:30) RTS 1 News 23.4% 44.2%
Slovakia TŘI OŘÍŠKY PRO POPELKU (THREE WISHES FOR CINDERELLA) Markíza Movie 18.7% 35.6%
Slovenia NA ŽARU ODDAJA Pop TV Comedy Show 35.5% 66.4%
Spain Y AHORA,TODOS CON LA EUROCOPA Tele 5 Magazine-Sports 15.5% 44.0%

Sweden KALLE ANKA OCH HANS VÄNNE (A DISNEY CHRISTMAS GIFT) SVT 1 TV Movie 39.3% 95.9%
Switzerland (G) GOTTHARD SRF 1 TV Movie 21.5% 47.1%
Switzerland (F) 19H30 RTS Un News 21.2% 61.5%
Switzerland (I) VIA COL VENTI (GONE WITH THE WIND) TSI 1 Game Show 24.9% 52.8%
Turkey SURVIVOR (EXPEDITION ROBINSON) TV 8 Reality Show 12.1% 27.2%
Ukraine NOVOGODNEE POZDRAVLENIE PREZIDENTA UKRAINY (PRESIDENTIAL NEW YEAR'S ADDRESS) 1+1 Special Event 15.2% 32.8%
United Kingdom THE GREAT BRITISH BAKE OFF BBC 1 Reality Show 26.9% 52.7%
China 2016 CCTV SPRING FESTIVAL EVENING CCTV 1 Special Event 7.0% 16.7%
India PREM RATAN DHAN PAYO STAR GOLD Movie 27.0% 25.2%
Japan THE 67TH NHK KOHUTA UTA GASSEN NHK G Music Show 27.5% 52.9%
United States 88TH ACADEMY AWARDS ABC Variety Show 12.0% 31.5%

1
No single programme was featured in the top programmes list
Note: In this table sports events are excluded.
Source: EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
Key Tables.

Best Recurrent Series 2016

Country Name Channel Genre Runs Rating Share
in % in %

all individuals

Austria DIE ROSENHEIM COPS ORF 2 Crime 41 10.1% 29.9%

Belarus PAUTINA-9 NTV Belarus Crime 1
12.8% 29.8%
Belgium North EIGEN KWEEK ÉEN Drama 7 32.2% 61.0%
Belgium South NCIS, ENQUETES SPECIALES (NAVY NCIS) RTL TVI Crime 15 11.9% 29.9%
Bulgaria TVOIAT MOI JIVOT (PARAMPARÇA) BTV Drama 1
20.8% 49.1%
Croatia TUDI ZIVOT (PARAMPARÇA) Nova TV Drama 83 16.5% 38.1%
Cyprus DIDYMA FEGGARIA ANT 1 Drama 1
15.4% 34.5%
Czech Republic ORDINACE V RUŽOVÉ ZAHRADE Nova Drama 1
16.2% 37.7%
Denmark BADEHOTELLET (THE BEACH HOTEL) TV 2 Drama 6 29.8% 64.7%
Estonia n.a.2 n.a.2 n.a.2 n.a.2 n.a.2 n.a.2
Finland KORPELAN KUJANJUOKSU YLE TV 1 Comedy 1
20.3% 53.2%
France SAM TF 1 Comedy 6 12.4% 29.2%
Germany TATORT ARD Crime 46 11.1% 23.5%
Greece MPRISKO Antenna Daily Soap 185 11.7% 28.4%
Hungary BARÁTOK KÖZT (AMONG FRIENDS) RTL Klub Daily Soap 249 10.4% 22.4%
Ireland REBELLION RTÉ One Drama 5 15.3% 38.3%
Italy IL COMMISSARIO MONTALBANO Rai 1 Crime 8 14.7% 33.2%
Latvia UGUNSGRĒKS TV 3 Daily Soap 1
10.5% 24.8%
Lithuania n.a.2 n.a.2 n.a.2 n.a.2 n.a.2 n.a.2
Macedonia CRNATA ROZA (KARAGÜL) Sitel Drama 1
26.4% 48.1%
Netherlands DIVORCE RTL 4 Drama 12 14.4% 28.1%
Norway NOBEL - FRED FOR ENHVER PRIS NRK 1 Drama 7 16.5% 39.1%
Poland M JAK MILOŚĆ (L FOR LOVE) TVP 2 Daily Soap 78 17.5% 38.6%
Portugal A UNICA MÚLHER TVI Telenovela 248 14.7% 30.2%
Romania LAS FIERBINTI Pro TV Sitcom 1
15.3% 30.3%
Russia MAZHOR II (SILVER SPOON II) Perviy Drama 6 8.1% 25.4%
Serbia SELO GORI, A BABA SE CESLJA RTS 1 Comedy 1
24.8% 55.2%
Slovakia HORNÁ DOLNÁ Markíza Sitcom 1
17.0% 37.5%
Slovenia GORSKI ZDRAVNIK (DER BERGDOKTOR) Pop TV Drama 1
18.6% 43.6%
Spain EL PRÍNCIPE Tele 5 Drama 8 9.8% 24.4%
Sweden MORDEN I MIDSOMER (MIDSOMER MURDERS) SVT 1 Crime 6 17.4% 54.0%
Switzerland (G) DER BESTATTER SRF 1 Crime 6 13.4% 37.5%
Switzerland (F) CLEM RTS Un Comedy 8 9.2% 25.6%
Switzerland (I) CASTLE TSI 1 Crime 27 13.0% 29.8%
Turkey DIRILIS: ERTUGRUL TRT 1 Drama 31 9.2% 21.7%
Ukraine LESTNITSA V NEBESA Channel Ukraine Drama 1
11.8% 31.8%
United Kingdom CALL THE MIDWIFE BBC 1 Drama 61 16.6% 34.2%
China HERO DOG III HUNAN TV SAT Comedy 1
4.2% 12.7%
India NAAGIN Colors Drama 1
3.4% 12.0%
Japan ASA GA KITA NHK G Drama 78 12.7% 43.0%
United States THE BIG BANG THEORY CBS Sitcom 31 6.7% 19.2%
TV KEY FACTS 2017

Only the best episode is taken into account; 2No recurrent series was featured in the top programmes list
1
142 
Source: EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
143
Key Tables.

TV Equipment
Population Households TV HH TV HH Multiset DVD Player/ DVR Blu-ray
in 000 in 000 in % in 000 in % Recorder in % Player
Country of TVHH in % of TVHH of TVHH in % of TVHH

Austria 8 740 3 866 95.6% 3 693 46.1% 55.3% 18.0% 17.1%

Belarus 9 570 3 8591 98.1% 3 797 53.2% n.a. n.a. n.a.
Belgium 11 311 4 693 96.3% 5 264 n.a. 52.3% n.a. 26.6%
Bulgaria 7 154 2 743 99.1% 2 926 52.3% 14.0% n.a. n.a.
Croatia 4 191 1 481 99.2% 1 507 24.6% 67.0% 2.0% 13.3%
Cyprus 848 315 95.9% 3022 n.a. n.a. n.a. n.a.
Czech Republic 10 554 4 690 95.9% 4 312 39.1% 57.6% n.a. 11.3%
Denmark 5 707 2 387 89.8% 2 384 43.3% 69.2% n.a. 30.0%
Estonia 1 316 573 94.6% 561 31.2% 39.2% 29.3% n.a.
Finland 5 487 2 641 95.8% 2 495 41.3% 54.2% 33.8% 19.0%
France 66 760 29 139 97.4% 28 383 n.a. 67.4% n.a. 22.0%
Germany 82 176 40 537 94.5% 38 320 43.3% 54.3% 10.8% 24.9%
Greece 10 784 4 411 99.1% 4 372 n.a. 50.1% n.a. 16.4%
Hungary 9 831 4 149 95.0% 3 890 n.a. 64.5% 61.8% 15.1%
Ireland 4 725 1 728 91.0% 1 578 43.0% 81.4% 60.0% 16.0%
Italy 60 666 25 797 95.9% 23 412 60.7% 85.6% 15.0% 21.9%
Latvia 1 969 836 93.8% 741 36.0% 37.0% n.a. n.a.
Lithuania 2 889 1 392 95.4% 1 209 56.4% 15.5% 36.1% n.a.
Luxembourg 576 234 99.2% 232 n.a. n.a. n.a. n.a.
Macedonia 2 100 564 99.7% 560 n.a. n.a. n.a. n.a.
Netherlands 16 979 7 723 96.5% 7 451 47.5% 45.1% 14.7% 19.6%
Norway 5 211 2 349 97.9% 2 300 n.a. 66.2% n.a. 49.6%
Poland 37 967 14 225 95.7% 13 008 21.2% 42.9% 21.1% 14.0%
Portugal 10 341 4 080 99.6% 3 869 n.a. 74.8% n.a. 17.7%
Romania 19 760 7 470 95.2% 6 952 37.9% 2.2% 0.1% n.a.
Russia 146 500 52 707 99.0% 52 707 n.a. 84.5% n.a. 27.3%
Serbia 7 076 2 488 98.2% 2 430 39.8% 14.8% 14.0% n.a.
Slovakia 5 426 1 846 97.6% 1 720 42.6% 53.8% 35.2% n.a.
Slovenia 2 064 889 95.5% 849 n.a. n.a. n.a. n.a.
Spain 46 529 18 444 98.9% 18 162 49.7% 71.8% 10.9% 15.4%
Sweden 9 851 4 825 92.0% 4 450 n.a. 76.3% 32.0% 21.4%
Switzerland 8 179 3 585 99.0% 3 321 46.8% 72.9% n.a. 30.7%
Turkey 78 741 22 354 96.9% 21 148 15.2% 0.0% 0.8% 14.8%
Ukraine 42 761 16 574 95.0% 15 011 33.5% n.a. n.a. n.a.
United Kingdom 65 383 28 647 96.2% 26 460 59.3% 78.2% 61.2% 24.2%
Europe 810 039 324 241 96.3% 307 684 42.0%3 61.3%4 20.7%5 22.1%6
EU 7 509 901 219 761 96.0% 206 494 47.4% 8
61.9% 9
24.0% 10
21.0%11
China 1 373 541 432 729 82.3% 412 981 n.a. 31.1% n.a. 0.5%
India 1 226 884 2 484 09112 62.7% 174 485 n.a. 16.3% n.a. 0.9%
Japan 126 702 54 166 97.1% 51 291 n.a. 28.6% n.a. 53.5%
United States 323 995 124 587 98.9% 119 864 n.a. 74.5% n.a. 42.8%

Census 2009 data; 2Data from 2015; 3Weighted average without Belgium, Cyprus, France, Greece, Hungary, Luxembourg, Macedonia, Norway, Portugal, Russia, Slovenia and Swe-
1

den; 4Weighted average without Belarus, Cyprus, Luxembourg, Macedonia, Slovenia and Ukraine; 5Weighted average without Belarus, Belgium, Bulgaria, Cyprus, Czech Republic,
Denmark, France, Greece, Latvia, Luxembourg, Macedonia, Norway, Portugal, Russia, Slovenia and Ukraine; 6Weighted average without Belarus, Bulgaria, Cyprus, Estonia, Latvia,
Lithuania, Luxembourg, Macedonia, Romania, Serbia, Slovakia, Slovenia and Ukraine; 7Without Malta; 8Weighted average without Belgium, Cyprus, France, Greece, Hungary, Lux-
embourg, Portugal, Slovenia and Sweden; 9Weighted average without Cyprus, Luxembourg and Slovenia; 10Weighted average without Belgium, Bulgaria, Cyprus, Czech Republic,
Denmark, France, Greece, Latvia, Luxembourg, Portugal and Slovenia; 11Weighted average without Bulgaria, Cyprus, Estonia, Latvia, Lithuania, Luxembourg, Romania, Slovakia and
Slovenia; 12Census 2011 Data.
Source: CIA World Factbook, RTL AdConnect, IHS Markit, EURODATA TV, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE.
Key Tables.

Multi-Screen Technology
TV Flat TV High Connected PC Tablet PC Mobile Smartphones Broadband
Screen Definition TV in % of HH in % of Pop. in % of Pop.1 in % of Pop. in % of HH
Country in % of TVHH in % of TVHH in % of TVHH

Austria 91.5% 87.5% 33.7% 78.4% 43.9% 157.6% 58.2% 63.3%

Belarus 57.2% 55.4% 14.7% n.a. n.a. 124.9% n.a. n.a.
Belgium 90.5% 87.2% 30.5% 77.2% 44.9% 127.5% 55.9% 77.9%
Bulgaria 61.9% 60.0% 17.6% 58.4% 17.0% 153.3% 53.8% 44.6%
Croatia 59.3% 56.8% 16.3% 80.3% 7.8% 112.5% 64.0% 35.9%
Cyprus 91.3% 87.5% 27.8% 60.3% n.a. n.a. n.a. 86.4%
Czech Republic 81.1% 79.1% 30.5% 80.4% 35.4% 137.8% 56.8% 54.5%
Denmark 90.9% 87.1% 41.1% 85.5% 56.4% 165.4% 80.1% 92.8%
Estonia 82.0% 80.5% 33.1% 73.8% 29.7% 155.6% 59.8% 67.1%
Finland 89.0% 84.8% 33.7% 77.4% 55.2% 182.1% 41.5% 71.9%
France 94.4% 91.4% 36.2% 73.3% 50.4% 110.4% 65.6% 71.1%
Germany 94.1% 92.7% 46.7% 83.1% 43.6% 141.2% 62.6% 72.7%
Greece 88.4% 83.7% 22.6% 77.1% 17.6% 151.2% 57.5% 66.5%
Hungary 76.8% 74.8% 27.2% 77.6% 6.9% 115.6% 60.4% 63.6%
Ireland 89.4% 83.0% 30.7% 79.0% 46.1% 108.9% 72.9% 69.0%
Italy 92.9% 90.3% 33.7% 78.9% 28.1% 136.1% 67.5% 50.5%
Latvia 72.1% 70.2% 26.1% n.a. 22.3% 138.8% 56.2% 61.1%
Lithuania 67.9% 66.8% 13.6% 66.6% 26.1% 145.5% 53.8% 48.9%
Luxembourg 93.0% 89.6% 47.4% n.a. n.a. 132.6% n.a. 90.4%
Macedonia 66.5% 65.0% 16.8% 71.2% n.a. 113.5% n.a. n.a.
Netherlands 92.6% 89.9% 36.8% 81.3% 48.3% 107.1% 72.4% 84.1%
Norway 95.2% 92.5% 42.9% 85.2% 40.9% 100.1% 81.9% 85.3%
Poland 76.9% 75.3% 29.4% 72.7% 45.6% 138.1% 62.6% 48.5%
Portugal 89.1% 84.7% 24.2% 78.0% 27.2% 163.4% 54.2% 74.6%
Romania 74.7% 73.1% 25.2% 53.5% n.a. 143.3% 47.2% 58.5%
Russia 77.2% 75.3% 26.7% 71.5% 26.2% 175.0% 52.3% 40.0%
Serbia 75.4% 74.0% 22.0% 61.6% n.a. 139.5% n.a. n.a.
Slovakia 81.6% 79.9% 35.2% 79.6% 39.7% 128.9% 60.0% 65.4%
Slovenia 78.9% 76.7% 28.0% 81.3% 34.4% 107.5% 62.8% 60.8%
Spain 92.6% 89.1% 30.7% 75.5% 34.0% 110.6% 82.7% 64.2%
Sweden 88.4% 85.5% 38.1% 80.2% 45.4% 148.4% 75.4% 76.1%
Switzerland 94.0% 92.0% 38.5% 85.1% 37.0% 129.8% 72.9% 93.4%
Turkey 73.5% 71.7% 23.6% 68.4% 39.2% 96.1% 71.6% 38.0%
Ukraine 44.3% 43.2% 6.3% 52.6% n.a. 136.3% 36.5% n.a.
United Kingdom 94.1% 90.2% 35.7% 83.6% 62.5% 128.1% 73.5% 85.4%
Europe 83.8% 81.4% 31.1% 74.7%2 38.5%3 135.7%4 62.6%5 61.2%6
EU 7 89.7% 87.0% 35.0% 77.7% 8
42.1% 9
131.1% 4
66.0% 10
67.8%
China 64.7% 64.7% 30.8% 59.6% 28.3% 96.1% 81.5% 48.2%
India 28.2% 31.0% 1.7% 23.2% 11.7% 85.0% 28.4% 6.5%
Japan 95.5% 92.6% 55.3% 79.8% 44.8% 130.0% 53.6% 62.3%
United States 91.5% 92.2% 39.2% 81.8% 66.8% 124.9% 76.7% 81.7%
TV KEY FACTS 2017

1
Figure is calculated on the number of private mobile phone contracts, in reference to the total population. One person can have more than one contract; 2Weighted
average without Belarus, Latvia and Luxembourg; 3Weighted average without Belarus, Cyprus, Luxembourg, Macedonia, Romania, Serbia and Ukraine; 4Weighted average
without Cyprus; 5Weighted average without Belarus, Cyprus, Luxembourg, Macedonia and Serbia; 6Weighted average without Belarus, Macedonia, Serbia and Ukraine;
7
Without Malta; 8Weighted average without Latvia and Luxembourg; 9Weighted average without Cyprus, Luxembourg and Romania; 10Weighted average without Cyprus
and Luxembourg.
144 
Source: IHS Markit, local institutes.
145
Key Tables.

Electronic Audience
Measurement
Overview

Country Population TV HH Service Population Launch of Panel Size Interval

in 000 in 000 Represented People- HH of Measu-
by the Panel meter rement
in % System
Austria 8 740 3 693 GfK Austria, since 1968 100% 1991 1 628 1 sec
Belarus 9 570 3 797 Real'noe Izmerenie1, since 2008 73.3%2 2010 500 1 min3
Belgium North 5 995 2 589 Audimétrie S.A., since 1996 100% 1989 750 1 sec
Belgium South 4 466 2 000 Audimétrie S.A., since 1996 100% 1985 750 1 sec
Bulgaria 7 154 2 926 GARB Audience Measurement Bulgaria, since 2006 100% 2001 1 045 30 sec
Croatia 4 191 1 507 Nielsen Audience Measurement, since 2002 100% 2002 810 1 min
Cyprus 848 302 Nielsen Audience Measurement, since 1998 100% 1998 425 1 min
Czech Republic 10 554 4 312 Nielsen Admosphere, since 2002 100% 1997 1 833 1 sec
Denmark 5 707 2 384 Kantar Gallup, since 1992 100% 1992 1 200 1 min
Estonia 1 316 561 Kantar Emor, since 1990 100% 2003 383 1 min
Finland 5 487 2 495 Finnpanel Oy, since 1975 100% 1987 1 100 1 min3
France 66 760 28 383 Médiamétrie, since 1985 100% 1989 5 006 1 sec
Germany 82 176 38 320 GfK Fernsehforschung, since 1985 100% 1985 5 000 1 sec
Greece 10 784 4 372 Nielsen Television Audience Measurement, since 1988 100% 1988 1 406 1 min
Hungary 9 831 3 890 Nielsen Audience Measurement, since 1992 100% 1994 1 120 1 min
Ireland 4 725 1 578 Nielsen TAM, since 1996 100% 1996 1 050 1 min
Italy 60 666 23 412 Auditel/Nielsen TV Audience Measurement, since 1986 100% 1986 5 666 1 min
Latvia 1 969 741 Kantar TNS, since 1993 100% 1999 3904 1 min
Lithuania 2 889 1 209 Kantar TNS, since 1995 100% 2000 460 1 min
Macedonia 2 100 560 Nielsen Audience Measurement, since 2007 100% 2008 400 1 min
Netherlands 16 979 7 451 Intomart/GfK & Nielsen Media Research, since 2000 100% 1987 1 220 1 sec
Norway 5 211 2 300 Kantar TNS, since 2000 100% 1992 1 000 1 min
Poland 37 967 13 008 Nielsen Audience Measurement, since 1996 100% 1996 2 002 1 min
Portugal 10 341 3 869 CAEM/GfK, since 2012 100% 1993 1 100 1 min
Romania 19 760 6 952 Kantar Media, since 2012 100% 1998 1 320 1 min
Russia 146 500 52 707 Wciom, since 1994 46.6%5 1996 5 000 1 min
Serbia 7 076 2 430 Nielsen Audience Measurement, since 2002 100% 2002 880 1 min
Slovakia 5 426 1 720 TNS Slovakia, since 2004 100% 2004 1 200 1 min3
Slovenia 2 064 849 AGB Nielsen Media Research, since 1999 100% 1999 450 1 min
Spain 46 449 18 162 Kantar Media, since 1988 100% 1988 4 496 1 min
Sweden 9 851 4 450 AGB Nielsen Media Research, since 1993 100% 1993 1 350 1 min
Switzerland (G) 5 175 2 367 Kantar Media, since 2013 100% 1985 1 000 1 sec7
Switzerland (F) 1 803 796 Kantar Media, since 2013 100% 1985 600 1 sec7
Switzerland (I) 339 158 Kantar Media, since 2013 100% 1985 270 1 sec7
Turkey 78 741 21 148 TNS/Kantar Media, since 2012 73.0% 6
1990 4 000 1 min
Ukraine 42 761 15 011 Nielsen Ukraine, since 2014 100% 1998 2 840 1 sec
United Kingdom 65 383 26 460 Kantar Media, since 2010 100% 1981 5 100 1 min
China 1 373 541 412 981 CSM Media Research, since 1997 100% 1999 8 000 1 min
India 1 266 884 174 485 Broadcast Audience Research Council India n.a. n.a. 22 000 n.a.
Japan 126 702 51 291 iNEX2 Video Research, since 1962 76.0% 1997 900 1 min
United States 323 995 119 864 The Nielsen Company, since 1950 100% 1987 42 041 1 min

1
Former name: GEVS; 2Urban population 4+; 31 second is technically possible, but 1 minute data is being used; 4Only TV households covered; 4Annual average panel size; 5Urban
population 4+ in cities with 100 000+ inhabitants; 6Individuals in TV households in cities with a population 5 000+; 7On the basis of 1 second but the system requires 15 seconds to
allocate the signal to a channel
Source: EURODATA TV, RTL AdConnect, local institutes – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
Panel Information

Country Foreign Cable Digital DTT Interactive Time-shifted Guest

Channels and Satellite Channels Channel Applications Viewing Viewing
Channels in Digital TV Included Included

Austria Yes Yes Yes Yes Yes1 Yes Yes

Belarus No Yes2 Yes No No No No
Belgium North Yes Yes Yes Yes n.a. Yes Yes
Belgium South Yes Yes Yes Yes n.a. Yes Yes
Bulgaria Yes Yes Yes Yes No No No
Croatia Yes Yes Yes Yes No No No
Cyprus Yes Yes Yes Yes No No No
Czech Republic Yes Yes Yes Yes No Yes Yes
Denmark Yes Yes Yes Yes No Yes3 Yes
Estonia Yes Yes Yes Yes No Yes No
Finland Yes Yes Yes Yes No Yes Yes
France Yes Yes Yes Yes n.a. Yes Yes
Germany Yes Yes Yes Yes No Yes Yes
Greece No Yes Yes Yes n.a. No Yes
Hungary Yes Yes Yes Yes No Yes No
Ireland Yes Yes Yes Yes Yes4 Yes Yes5
Italy No Yes Yes Yes No Yes Yes
Latvia Yes Yes Yes Yes No Yes No
Lithuania Yes Yes Yes Yes No No No
Macedonia Yes Yes Yes Yes No No Yes
Netherlands Yes Yes Yes Yes No Yes Yes
Norway Yes Yes Yes Yes No Yes Yes
Poland Yes Yes Yes Yes No No Yes
Portugal Yes Yes Yes Yes No Yes7 No
Romania Yes Yes Yes Yes No Yes Yes
Russia Yes Yes Yes Yes No No No
Serbia Yes Yes Yes Yes No No Yes
Slovakia Yes Yes Yes Yes No Yes8 Yes
Slovenia Yes Yes Yes Yes n.a. No Yes
Spain No Yes Yes Yes Yes Yes Yes
Sweden Yes Yes Yes Yes No Yes Yes
Switzerland (G) Yes Yes Yes Yes No Yes Yes
Switzerland (F) Yes Yes Yes Yes No Yes Yes
Switzerland (I) Yes Yes Yes Yes No Yes Yes
Turkey Yes Yes No No No No Yes
Ukraine Yes Yes Yes Yes No 4
No
United Kingdom Yes Yes Yes Yes Yes Yes Yes
China No Yes Yes Yes No No No
Japan No No Yes Yes No Yes9 No
United States n.a. Yes Yes Yes Yes10 Yes Yes
TV KEY FACTS 2017

Partially; 2Cable channels only; 3Viewing on the same day as live (VOSDAL) only; 4Measured but not included in ratings; 5Guest viewing included in ratings but not in reach; 6Started to
1

be measured since February 2016; 7Started to be measured and included in the ratings since June 2015; 8Started to be measured from October 2016; 9Web TV measurement since 2011.
146 
Source: RTL AdConnect, local institutes, EURODATA TV / Médiamétrie Médiamat – reproduction forbidden, all rights reserved by MÉDIAMÉTRIE
147
Key Tables.

Top Advertisers & Advertising

Sectors
TV Share of Media Expenditure Top 3 Advertisers

TV Share
Country of Media Trend 1 2 3
Expenditure

Austria 29.3% D Ferrero Procter & Gamble XXXLutz

Belarus1 45.3% F Nestlé TV Shop Orimi Trade
Belgium 43.0% D Procter & Gamble Reckitt & Benckiser Unilever
Bulgaria 93.0% D Procter & Gamble Nestlé Mobiltel
Croatia 82.5% D Agrokor T-Hrvatski Telekom VIP
Cyprus 1 64.3% F Lidl Alphamega Carrefour S/M
Czech Republic 52.8% D Procter & Gamble Henkel Unilever
Denmark 31.2% D Danske Spil Bilka Peugeot
Estonia1 29.3% F n.a. n.a. n.a.
Finland 1 21.7% F Veikkaus Unilever Procter & Gamble
France 39.0% D Procter & Gamble Unilever Ferrero
Germany 48.2% D Procter & Gamble Ferrero L'Oréal
Greece n.a. n.a. n.a. n.a. n.a.
Hungary 83.5% D Sanofi-Aventis Procter & Gamble Reckitt Benckiser
Ireland 33.3% F Procter & Gamble Sky Diageo
Italy 1 63.1% D Procter & Gamble Ferrero Barilla
Latvia 45.5% F Rimi Reckitt Benckiser Procter & Gamble
Lithuania 79.2% D Tele 2 Procter & Gamble Studio Moderna
Luxembourg 10.1% D Post Luxembourg Coca-Cola Kichechef
Macedonia 48.9% F Procter & Gamble Coca-Cola Chipita
Netherlands 56.2% D Unilever Procter & Gamble Jumbo
Poland 41.1% F Aflofarm Lidl Unilever
Romania1 65.5% D Procter & Gamble Unilever Reckitt Benckiser
Russia1 41.9% F Nestlé Pepsi Co Procter & Gamble
Serbia1 54.8% D Proton System Agrokor Procter & Gamble
Slovakia 59.5% F Slovak Telekom Orange Lidl
Spain 1 40.5% D Procter & Gamble Reckitt Benckiser L´Oréal
Sweden 49.5% D Procter & Gamble Arla Foods Unilever
Switzerland 32.3% F Procter & Gamble Ferrero Unilever
Turkey1 51.2% D Unilever Reckitt Benckiser Turk Telekom
Ukraine 1 48.8% D Nestlé Procter & Gamble Pharmak
United Kingdom 38.6% F Procter & Gamble Reckitt Benckiser Sky
Japan n.a. n.a. n.a. n.a. n.a.
United States1 37.4% F Procter & Gamble General Motors Geico
Europe Procter & Gamble Unilever Reckitt Benckiser

1
Net figures
Source: Local institutes, gross figures
Top 3 Advertising Sectors

Country 1 2 3

Austria Food Cosmetics, Pharmaceuticals Home & Garden

Belarus Soft Drinks Cosmetics, Perfumery, Body & Hair Care TV, Communication, Mobile, Press
Belgium Culture, Tourisme, Loisirs Alimentation Beauty, Hygiene
Bulgaria Pharmaceuticals Food Cosmetics
Croatia Retailers Food Communications, Telecommunications
Cyprus Stores, Shops Services Financial Services
Czech Republic Other Processing Industry Foods, Drinks Cross-Section Categories
Denmark Cars Mobile Communications Fast Moving Consumer Goods
Estonia n.a. n.a. n.a.
Finland Retail Food Pharmaceutical Products & Medicines
France Food Beauty, Hygiene Automotive, Transports
Germany Retail & Mail-Order Cosmetics & Toiletries Food
Greece n.a. n.a. n.a.
Hungary Medicinal Products Food Trade
Ireland Retail Household Services Food
Italy Food Automotive Telecommunication
Latvia Retail In General Remedies Financial Institutions, Services
Lithuania Retail Remedies Mobile Communication
Luxembourg Transport Household Equipment Retail
Macedonia Medicaments & Vitamins Beers Soft Drinks Sparkling
Netherlands Retail Food Personal Care
Poland Pharmaceutical Products, Medicine Food Retail
Romania Pharmaceuticals & Health Food Beverages
Russia Pharmaceuticals Food Retail
Serbia Food, Non-Alcoholic Beverages Pharmaceuticals Cosmetics
Slovakia Banking, Insurance, Financial Services Telecommunication Food
Spain Food Beauty Retail
Sweden Retailers Financial Advertising Food, Beverage, Tobacco
Switzerland Food Personal Hygiene, Cosmetics Beverages
Turkey Food Communication Cosmetics & Personal Care
Ukraine Pharmaceuticals Food Alcohol
United Kingdom Food Entertainment & Leisure Finance
Japan n.a. n.a. n.a.
United States Automobile Financial Retail
Europe Food Retail Pharmaceuticals
TV KEY FACTS 2017

148 
Source: Local institutes, gross figures
149
Special Thanks
TV Key Facts 2017 was produced by the RTL AdConnect sales houses
and RTL Group. The project was supervised by Stéphane Coruble,
Managing Director of RTL AdConnect.

To the authors McCann-­Erickson Universal (Maria Yaznevich-­

A very special thanks for their contributions in the Khasenevich), Media Advertising (Goran Stojanovic),
form of articles or interviews. Media Master (Martin Procházka), MTG Denmark
Martin Bromfield (comScore), Duncan Stewart (Kristian Arnaa), MTG Sweden (Johann Nelander,
(Deloitte), Alain Beerens (egta), Candice Alessandra, Sofie Thermænius), MTV Oy (Taina Mecklin), Nielsen
Abed Laraqui, Florent Carême & Siglinde Martinez Audience Measurement Cyprus (Maria
(Eurodata TV Worldwide), Stephanie Horbaczewski Mavrommatis), Nielsen Audience Measurement
(StyleHaul), Brigitte Bayer, Cornelia Krebs & Jens Macedonia (Simeon Lavciski), Nielsen Audience
Pöppelmann (Mediengruppe RTL Deutschland), Measurement Serbia (Silvija Atijas-Ristić),
Rupert Schäfer (Nunatak), Elena Nigra (Rai Pubbli­ PMT s.r.o. (Vladimir Fatika), Publitalia ’80 (Giulio
cità), Thorsten Schütte-Gravelaar (Smartclip), Bello), RTÉ (Paul Cantwell, Mariya Zhabska), Televi-
Ludovic de Barrau (RTL Belgium), Carsten Göttel sion Industry Committee (Semen Syzov), TVB (Ron
(Super RTL), Bianca Stockreiter (TrendOne), Nico Salmon), TVP (Anna Smycz).
Hofmann (UFA), Leon Siotis (SpotX), Amaury
Lelong (SoLocal Group), Bianca Brueck-Sartorius To our local IPs and other RTL
(Carglass), Geraud Benoit (Ferrero). Group companies
Atresmedia (Rosa Riestro Sastre), Goldbach Media
To our world partners (Irène Durrer), RTL Belgium (Christine Pirmez-De
Special thanks to all our partners from all around the Kempeneer), IP Luxembourg (Laurent Friob), IP
world who have taken part in this project and with- Österreich (Nadine Aigner, Sabrina Fischer,
out whom the report would not have been possible. Christian Sattler), Mediengruppe RTL Deutschland
Analytical Centre (Anna Vorontsova), ARBOmedia (Armin Bluhm, Holger Brock, Simone Seewald,
Vilnius (Remigijus Mikšys), ARMA (Costin Juncu), Philipp Schlichting), R-Time (Frigyes Ur, Aracsi
AS Kanal 2 (Margus Paas), AVMU (Emilia Janevska), Zoltán, Anett Varga), RTL Croatia (Nenad Lukić,
Dentsu Aegis Network (Müge Atakan, Gülşah Vedran Škrinjar, Ana Anđal, Adrijano Hafner), RTL
Balten), GARB Audience Measurement Bulgaria Nederland (Cindy Borrenberg, Bob van de Vijfeijke).
(Doroteia Dervisheva), ITV (Tony Mawer), Kantar
Media (Wanda Świętek), Kantar Sifo (Lars Thanks also to
Näsström), Kantar TNS Finland (Orvokki Bert Habets, Guillaume de Posch, Oliver Fahlbusch,
Tervo), Kantar TNS Lithuania (Lina Petraitiene, Andreas Meier, Isabell Ostermann, Katerina
Giedrė Juronienė), Kantar TNS Slovakia (Jana Kapsani, Cordelia Wagner, and Zarifa Schmitt.
Tibenská), Magna Global (Vincent Letang, Michael
Leszega), Magnet Media Ltd. (Ivars Bebrišs),
Imprint
TV Key Facts 2017
24th Edition – September 2017

Publication Directors. Stéphane Coruble, Managing Director

Christophe Loisel, Deputy Managing Director
RTL AdConnect SA
45, Boulevard Pierre Frieden – L 1543 Luxembourg – T. +352 42142 4721
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Editors-in-chief & Carine Jean-Jean, Communications Director
Communications. T. +33 1 56 69 42 85 – cjeanjean@ rtladconnect.com
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T. +33 1 56 69 42 82 - csaintebeuve@rtladconnect.com
RTL AdConnect – 58 avenue Charles-de-Gaulle – 92200 Neuilly-sur-Seine – France

Data Research. Jonas Noffz, Senior Media and Markets Analyst

T. +49 221 456 21950 – jnoffz@rtladconnect.com
Yvonne Eschbach, Junior Media and Markets Analyst
T. +49 221 456 21980 – yeschbach@rtladconnect.com
RTL AdConnect – Picassoplatz 1 – D 50679 Cologne

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Printing. Printvallée
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Photo credits.
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SuperStar ©RTL; TopChef ©Marie ETCHEGOYEN/M6; ©Golden Moustache; Belgium’s Got Talent ©Sofie Silbermann; La France a un incroy-
able talent ©Etienne JEANNERET/M6; 13 reasons why ©Beth Dubber/Netflix; ©The Orville; Deutschland 83 © Nik Konietzny; Charite ©ARD/
Nik Konietzny; Generation war ©Music Box Films; Ku'damm56 ©ZDF+Stefan Erhard; Titanic © 20th Century Fox ; Harry Potter © Warner
Bros.; Mariés au premier regard ©Pierre Olivier/M6; Secret story ©Endemol; Golden Moustache © ; ©The McClure Twins ©; Quantico ©ABC
Studios; Les Experts ©Darren Michaels, 2014 CBS Broadcasting Inc.; Dragons © DreamWorks Animation; Inspector Gadget ©Urlaub im
Dschungel; ©Woozle Goozle; Puss in Boots ©DreamWorks Animation; El Hormiguero ©atresmedia; Zoella ©2009 - 2017 Zoella; Stylehaul
©Stylehaul; The Voice Van Vlaanderen ©Sofie Silbermann; The Big Bang Theory ©CBS; Top Chef ©Marie Etchegoyen/M6; Scorpion ©2017
CBS Broadcasting, Inc. All Rights Reserved; Victoria ©ITV Plc; ©Mademoiselle Gloria; Wladimir Klitschko ©RTL/Morris Mac Matzen; Cham-
pions League ©Gonzalo Arroyo Moreno/Getty Images; Britain's Got Talent ©ITV Plc; The X Factor ©ITV Plc; Criminal Minds ©2016CBS
Broadcasting, Inc. All Rights Reserved ; Le Meilleur Pâtissier ©Marie ETCHEGOYEN/M6 ; Ant and Dec ©Nigel Wright; Das Supertalent ©RTL/
Stefan Gregorowius; Expeditie Robinson ©Olivier Thijssen; ©Fotolia.
TV KEY FACTS 2017

Price: € 950. ISSN 2227-1945. Copyright RTL AdConnect and RTL Group, September 2017. All rights reserved. No part of this publication may be reproduced in any fashion
whatsoever without the publisher’s prior written permission. While every effort has been made to ensure accuracy of the information in this publication, neither RTL AdConnect
nor RTL Group accept responsibility for errors or omissions.

150 
151
Access the Number One
Global & Premium Total Video Inventory

#1 broadcast and digital offer in Europe

100 +
300 +
30 +

TV channels Digital platforms Radio stations

Brand safe Premium

digital content digital talents

32 Bn +
80,000
Monthly online video views on RTL Group’s Content creators
catch-up TV services, websites and MPNs
Reach More Reach More
Audiences. Solutions.
We connect advertisers to new markets and RTL AdConnect, your unique “in” to all pan-
engage their audience via our wide range of Euro­pean Total Video campaigns. We offer brand
channels, radios, digital platforms and talents. safe and premium content environment, while
bringing advanced strategic media solutions.
We advise on the best campaigns and strategies
for advertisers with a daily audience of 160 million • Broadcast solutions: Television, Special ads, Radio.
TV viewers across Europe and 32 billion monthly •D
 igital solutions: Digital Premium & Brand safe
online video views on RTL Group’s catch-up TV ser- environment, Digital audience extension, YouTube
vices, websites and MPNs. pre-rolls, MPNs & Talents, Marketing influencer on
YouTube, Brand content.
• Ad tech solutions.

Reach More Strategy, planning & performance

Insight.
From creation to distribution, we are with you every
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In-depth analysis for a savvy media answer

We can accurately gauge performances with our
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Extensive multi-market knowledge,

data insight & trends.
We have total video expertise. Thanks to our full-
scale country-by-country analysis, our valued studies
offer a simplified, global picture and a transversal
overview of a multitude of markets (country profile,
equipment, advertising markets, audiences, ROI...).
TV KEY FACTS 2017

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153
RTL Group is a leader across broadcast, content and producers and distributors of multi-genre content
digital, with interests in 56 television channels and outside the US. With operations in 31 countries, Fre-
31 radio stations, content production throughout the mantleMedia’s comprehensive global network is
world and rapidly growing digital video businesses. responsible for approximately 12,000 hours of pro-
gramming a year and distributes over 20,000 hours
The television portfolio of Europe’s largest broadcast- of content worldwide.
er includes RTL Television in Germany, M6 in France,
the RTL channels in the Netherlands, Belgium, Lux- Combining the catch-up TV services of its broad-
embourg, Croatia, Hungary and Antena 3 in Spain. casters, the multi-platform networks BroadbandTV,
RTL Group’s families of TV channels are either the StyleHaul and Divimove as well as FremantleMedia’s
number one or number two in eight European coun- more than 280 YouTube channels, RTL Group has be-
tries. The Group’s flagship radio station is RTL in come the leading European media company in on-
France, and it also owns or has interests in other sta- line video. RTL Group also owns the advanced video
tions in France, Germany, Belgium, the Netherlands, ad serving platform SpotX.
Spain and Luxembourg.
For more information,
RTL Group’s content production arm, Fremantle- please visit RTLGroup.com
Media, is one of the largest international creators, and follow RTL Group on Twitter @rtlgroup.
 International Advertising Solutions

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more.
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in Europe, offering international advertisers
a unique and simplified access to RTL Group’s
total video solutions through more than
100 TV channels, 300 digital platforms and
30 radio stations across Europe.

www.rtl-adconnect.com
TV KEY FACTS 2017

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The TV Key Facts
Team

Stéphane Coruble
Carine Jean-Jean Daniel Bischoff

Coraline Sainte-Beuve Jean-Baptiste Mog gio

Christophe Loisel

Franck Litewka Yvonne Eschbach

Jonas Noffz
Lucie Deleuze

Diane Sarkis Emilie Demarquay

Charles Fletcher
 tvkeyfacts@rtladconnect.com
www.rtl-adconnect.com/tvkeyfacts

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