The TV industry is big business. It always has been. But how we define โTVโ is very much an evolving story, simply because viewership and engagement is no longer directly tied to a predefined schedule or static set of channel options. And while people still spend more than twice the amount of time with traditional TV than their connected TV devices, trends over the last year showcase how streaming-first mindsets are critical to success in the future.
For context, Americans increased their streaming usage by 21% between May 2021 and May 2022. That uptick, much of which happened during historically low TV viewing months, fueled a dramatic shift in total TV consumptionโeven though total TV viewing remained virtually unchanged. In June 2022, streaming accounted for more than one-third of total TV time, 6.3 points higher than in June 2021.
The flipside of this surge in consumption is a growing expanse of contentโand platforms to host it. In the period between December 2019 and February 2022, the number of unique video content titles grew from 646k to more than 817k1. And to complement the growth in titles, some now estimate there are more than 200 streaming services for audiences to choose from.
So, as lucrative and attractive as the streaming space is, success is far from easy. Several entities, including Deloitte, have forecasted subscriber churn amid the deluge of content and channel options, and a recent Nielsen survey found that 46% of streaming subscribers believe there are too many services available to them.
Bagi pemilik dan pembeli konten, mengetahui cara menavigasi lingkungan bukanlah hal yang mudah. Dengan begitu banyaknya persaingan-dan waktu yang terbatas pada hari tertentu-setiap dan semua keputusan dapat membuat atau menghancurkan keterlibatan penonton dengan sebuah program. Dengan kata lain, menjadi viral di dunia streaming merupakan hal yang lebih sulit dibandingkan saat penonton pertama kali menciptakan istilah "binge-watching" saat platform streaming mulai menayangkan satu musim penuh konten sekaligus.
Tetapi bagaimana jika, bahkan dalam ruang yang semakin padat, pemilik dan pembeli konten dapat menggunakan data untuk menentukan apakah konten akan meningkatkan jumlah penonton-atau bahkan mungkin layak untuk ditonton? Dan bagaimana jika penentuan ini tidak terbatas pada konten streaming?
Kabar baiknya adalah bahwa mereka tidak. Kabar baiknya lagi, menggunakan jenis data ini akan menguntungkan pemirsa sama seperti pemilik dan pembeli-bahkan mungkin lebih. Bagaimanapun juga, merekalah yang meminta konten yang relevan.
Mengingat jumlah konten yang tersedia-dan akan tersedia-metadata menjadi sangat penting untuk penemuan konten. Hal ini juga dapat membantu pemilik dan pembeli konten untuk memahami mengapa audiens tertarik pada konten tertentu. Ketika pemilik dan pembeli mengetahui karakteristik mana yang mendorong keterlibatan, mereka memiliki informasi yang mereka butuhkan untuk meningkatkan jumlah penonton-dan mempertahankannya.
Jadi, di antara banyak karakteristik yang perlu dipertimbangkan, karakteristik mana yang benar-benar menjadi faktor dalam preferensi pemirsa dan keterlibatan jangka panjang? Dan bagaimana karakteristik ini benar-benar dapat diukur?
To help content owners and buyers on this front, Gracenote, the content solutions pillar of Nielsen, recently announced a new data set that can be used to optimize program licensing and acquisition strategies as TV viewership booms. These are the characteristics that shed the most light on how individual streaming and broadcast programs are consumed:
- Kemampuan menonton: Pahami berapa banyak episode acara TV yang ditonton pemirsa per hari untuk mengukur kecenderungan pemirsa dalam mengonsumsi beberapa episode secara berurutan.
- Loyalitas: Pahami seberapa banyak (dalam menit dan persentase) konten yang tersedia dilihat per bulan untuk mengidentifikasi kecenderungan pemirsa untuk tetap bertahan dengan suatu program.
- Kemiripan program: Mengidentifikasi program yang mirip dengan program lain berdasarkan karakteristik tematik yang mirip, jumlah penonton, dan kinerja historis.
While these characteristics might be useful to some degree in determining road-tested programs with established audiences, especially as competition rises, they will be critical in assessing audience engagement with new programs. As streaming continues to account for an increasing share of total TV usage, we analyzed two new Netflix programs that debuted this year to gauge how audiences received them: Inventing Anna, which debuted in February, and The Lincoln Lawyer, which debuted in May. Both shows performed well with audiences, as they each appeared on Nielsenโs top 10 streaming list for several weeks around their respective debut dates.
When we look beyond the minutes viewed, however, we can better understand program-level engagementโand see viewers were more engaged with The Lincoln Lawyer than Inventing Anna.
Given the reception and resulting media fanfare around The Lincoln Lawyer, Netflix did announce that it greenlit a season 2 of the show. That said, the loyalty and binge scores for the program provide independent data points validating engagement. Comparatively, the Shonda Rhimes-led Inventing Anna was planned as a limited series, and therefore, no second season has been announced. But if the creators and Netflix ever change their minds and need viewer validation, the loyalty and binge scores could certainly serve that need.
This article originally appeared on Streaming Media.
