Our annual exploration of the UK's viewing habits - MAY 2020 - BARB
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Objective information is critical for the UK’s television and advertising industry. Each year, £7.5 billion is spent by broadcasters and advertisers on the production and distribution of programme and commercial content. BARB provides an independent, joint-industry currency that is trusted to assess the return on this investment. Dealing with audience fragmentation has been a constant aspect of BARB’s work since our formation in 1981. Fragmentation today is driven by the rise of programmes and commercials being delivered online and on-demand. We constantly develop our measurement techniques to meet the needs of the industry with high-quality data. In recent years we have developed techniques to report viewing to BVOD services on TV sets, tablets, PCs and smartphones; pre-broadcast and non-linear viewing on TV sets and dynamically-served advertising. The Viewing Report brings to life the latest insights from BARB. We hope you enjoy reading it.
CO N T E N TS INTRODUCTION 5 MEET OUR CONTRIBUTORS Rhiannon Murphy Rhiannon Murphy is Head GUEST ESSAYS 6 The power of knowledge Rhiannon Murphy HELLO, of AV at the7stars. She illustrates how the insights resulting 8 C a p t u r i n g t h e r i s e a n d r i s e o f d r a m a Rachel Shaw from new measurement services BARB is starting its fifth decade in strange editorial environment in which commercials VIEWING open up further opportunities for and testing times. I’ve written separately are seen. clients, underlining the power of 10 L i n k i n g s t r a t e g i c a n d i m p l e m e n t a t i o n a l p l a n n i n g about the implications of the current AUDIENCES ARE television as a medium. Rhian Feather public health crisis, and won’t dwell on the There has been one constant since 1981. FRAGMENTING; implications here. Viewing audiences are fragmenting. It’s in WE DELIVER Rachel Shaw B A R B U P DAT E S this context we deliver understanding of how U N D E RSTA N D I N G Rachel Shaw is Head of For all the short-term challenges, BARB people’s behaviour is changing. This requires Content Portfolio for the continues to focus on three core purposes. continuous development of a currency that is OF HOW PEOPLE’S 12 P r o j e c t D o v e t a i l s t a t u s u p d a t e BBC. She highlights the importance always on; we’re continually changing wheels BEHAVIOUR IS of drama and shows what BARB’s 13 To t a l t e l e v i s i o n v i e w i n g : W h a t ’ s i n c l u d e d ? We began life in 1981, when the BBC and on a moving car. CHANGING multiple-screen viewing data reveal ITV came together to deliver a single about audience behaviour for the measurement of what people watch, thereby Our service went through several upgrades BBC’s top dramas. NEW INSIGHT demonstrating how they operated in the during the last decade. As well as reporting public interest. BARB’s purpose of supporting post-broadcast audiences, we now know Rhian Feather 14 M e a s u r i n g p r e - b r o a d c a s t the public service of television is as clear when people watch programmes before Rhian Feather is Connections today as it was then. Our viewing figures they’ve been broadcast. And it’s not just Planning Executive Business 16 D e v i c e s i n t h e T V e c o s y s t e m are ingrained in broadcasters’ ongoing about the TV set; we report multiple-screen Director at OMD. She explains how conversation with Ofcom, government and programme ratings that cover viewing on the BARB and IPA TouchPoints data CENTREFOLD - the public. tablets, PCs and smartphones. I could go on. fusion helps to improve the impact of television planning in a complex THE TOP TENS OF 2019* Secondly, BARB supports the making of We expect more upgrades in this new landscape. great television programmes. Our currency decade. Two priorities are the need to report 18 M o s t - w a t c h e d o n d e v i c e s helps broadcasters commission more of the campaign performance including BVOD programmes that people want to watch, and services and to deliver more insight on SVOD 20 D e m o g r a p h y o n t h r e e s c r e e n s supports how they judge the success of their audiences. You can read more about what programme investments. we already know on SVOD viewing on pages THE SVOD REPORT 22-25 of this report. Our third purpose is to support the trading of television advertising. Again, this is as The good news is we’ve started the new 22 S V O D r e p o r t true for BARB today as it was in 1981, while decade with more progress. We now report our currency also helps advertisers assess unduplicated multiple-screen programme U P DAT E D I N S I G H T brand and sales outcomes. We make it reach, and have integrated IPA TouchPoints relatively straightforward for advertisers and audience classifications into our daily 26 I n t r o d u c t i o n agencies to integrate our data with brand audience reporting. This year’s guest essays tracking studies, shopper panel data, or other from Rachel, Rhian and Rhiannon explore 27 T i m e s h i f t effectiveness measures. these developments from the broadcaster and the media agency perspective. 28 S h a r e b y g e n r e We deliver a trusted audience measurement currency to fulfil these purposes because I hope you enjoy reading about these 29 S h a r e b y b r o a d c a s t e r of our core principles. These principles of developments, and all our other independence, objectivity and transparency measurement services, in this year’s edition resonate with those articulated recently of The Viewing Report. 30 T r a i n i n g & F i n d o u t m o r e by the World Federation of Advertisers, for whom trusted audience measurement is a priority. Our independent, people-based audience figures represent viewing by people from across the breadth of our society. Objective due diligence is needed to maintain our Justin Sampson reporting standards. And comparability Chief Executive * Please let us know if the centrefold has already isn't just about metrics: fundamental to BARB b e e n r e m o v e d a n d y o u w o u l d l i k e a n o t h e r. our reporting is transparency on the
6 RHIANNON MURPHY RHIANNON MURPHY 7 THE POWER OF Left: © Saturday Night Takeaway / Deliveroo KNOWLEDGE Sadly, a shadow of doubt has been cast importance of understanding viewers’ over television’s power as a medium. In our relationships with programmes and how they view at the7stars, this is too often because watch those programmes through the various advertisers are being wrongly advised. devices available. Whether they are experienced marketers with a history of advertising successfully on As audiences start shifting to platforms where TV, or have less experience as an individual we can’t advertise, it’s vital for us as planners marketer or smaller organisation, brands to understand the relationship between have been reading headlines that suggest programme, screen and consumer. There commercials on BVOD services. Then we will with the advent of BARB’s router meters is the they should be sceptical and apprehensive has been much speculation around the level finally be able to plan, measure and evaluate ability to find out how much of what BARB about whether television can do a great of viewership that has migrated onto other viewing to commercials across linear and calls unidentified viewing is accounted for brand-building job. devices. Now that BARB is reporting multiple- BVOD services. This will unlock insights for by viewing to SVOD services. Q4 2019 saw an screen programme average audiences, we all clients who use BVOD services. This is average of 55 minutes of unidentified viewing While advertisers are feeling pressure to be can see that the level of viewing on non-TV especially so for those in highly competitive each day, more than double the amount in concerned about their television investment, devices is very small, with 99% of viewing still categories such as Iceland which has tough the first quarter of 2014. As an industry, we their intuition is that TV is aspirational for happening on a TV set. competition with other supermarkets, are acutely aware of the ever-growing, ever- their brand, effective for their business fighting for share of viewing amongst an competitive SVOD market, and more detail on and provides an opportunity to put their That’s not to say that viewing on devices audience of housepersons with children that the make-up of unidentified viewing is crucial message in front of potential customers in is unimportant. Now that BARB reports is increasingly shifting viewing from linear TV to understanding the television ecosystem in an environment that’s entertaining, exciting unduplicated programme reach across to BVOD services. its entirety. and has social currency. In the AV team PCs and tablets and TV sets, we have more at the7stars, we have seen the power of robust evidence to help us advocate for Ahead of the launch of the gold-standard But what next? The market will continue to television transform the businesses of many television advertising. For example, the solution next year, BARB is making a beta evolve, with new entrants producing more of our clients. Our recommendations are first transmission of Love Island Winter in BVOD planner available. I write this before premium, captivating content. With more always bespoke to each client and planned January 2020 delivered an additional 9% the tool is available for user testing, but we information than ever on viewing behaviour, with a channel-neutral view; but in TV, we unduplicated reach from PC/tablet viewing are excited about the opportunity to model we’ll be able to develop our planning even are advocates for the wonderful medium we on top of TV set viewing. This underlines reach across linear and BVOD services in our further, with new insights that open up more represent. It’s been getting a bad rap! the power of television and helps to campaigns. As we get to grips with these TV-based opportunities for clients. Television reassure clients that viewing is shifting and data, they will become yet another example will continue to provide a trusted, regulated But just as the ways in which people watch diversifying rather than declining, and their to clients of how we are deepening our environment offering an inherent quality television are changing, so are the ways advertising is reaching audiences in ways that understanding of viewers, and the value stamp for brands. we can plan TV activity. Planning for 87%+ were not previously measured. N O W T H AT this can bring to their brands. It will be coverage with three opportunities to see an BARB REPORTS particularly helpful for entertainment clients At a time of change in viewers’ behaviour, ad still does have its role for some clients and Following the rollout of router meters into U N D U P L I C AT E D that are very reliant on a cherry-picked but without yet having a single source for campaigns, but more and more we’re finding BARB panel homes, demographic profiles approach, and have a short window of time campaign planning and measurement, we Rhiannon Murphy, ways beyond the classic spot campaign to and unduplicated reach for viewing on PROGRAMME to build reach ahead of release dates and are as an industry improvising to gather Head of AV, deliver enormous value for clients. Our TV smartphones will also be available. For REACH ACROSS music chart announcements. Understanding comprehensive evidence for planning the7stars activity extends from our partnership for clients that want to reach young adult P CS A N D TA B L E TS when and where audiences view genres television. At the7stars, we have kept the Deliveroo with Ant & Dec’s Saturday Night viewers, these data will provide even more AND TV SETS, or specific programmes will allow us to faith with television advertising and our Takeaway, to being the first agency to create confidence. overlay linear and catch-up viewing habits clients have reaped the rewards. We look an integrated partnership with Love Island for WE HAVE MORE to continue to drive mass reach, while forward to the completion of Project Dovetail Ministry of Sound. While today we can use the multiple-screen ROBUST EVIDENCE also harnessing the best programme for the comprehensive data that will – we’re programme average audiences and reach TO HELP US environments for each artiste. sure – renew confidence in client and agency So our television planning repertoire is data in our discussions with clients about minds. expanding – from campaigns to partnerships, the best shows to target, the major game- A DVO C AT E FO R Returning to the trend of viewing moving to convention to innovation, brand to changer will be the launch of the final stage TELEVISION platforms where our clients can’t advertise, The television industry may be evolving, but performance. All these shifts heighten the of Project Dovetail: the measurement of ADVERTISING another service improvement that we will see it’s not yet giving up its prime position!
8 RACHEL SHAW RACHEL SHAW 9 CAPTURING THE RISE AN D RISE OF DRAMA Drama has become the defining genre of you multiply the profile of 16-34s to BBC1 audiences spoke about it in such passionate THE WAY WE the new video landscape. Drama titles content to 25.4%. By opening up availability terms meant that it was going to drive dominate the list of top television shows through a combination of live, timeshifted word of mouth viewing. We felt confident in VALUE CONTENT – two thirds of 2019’s top 100 shows in the and on-demand opportunities, we ensure making all episodes available on day one, IS BECOMING UK came from this category. Each year this that audiences can enjoy programmes on allowing the audience to consume it at their MORE NUANCED. domination grows. And drama doesn’t their own terms. The same content delivered own pace. And most importantly, it was a WE LOOK TO THE just make an impact in terms of audience or consumed in different ways attracts a crime drama that did not hinge on who did volume; we know from speaking to viewers different audience. it. The title itself was a great big spoiler! The CONTINUED VALUE that it also creates deep and long-lasting entire series was about the process of Killing OF CONTENT OVER memories. Drama provides emotional We can also examine patterns longitudinally Eve. TIME, ON ALL value, driving conversations and creating over the last five years. In 2015, consolidation P L AT FO R M S common bonds. would add around a third of viewing to the By making the full series available on iPlayer overnight figure for a typical BBC1 drama; and using the BBC1 transmission as grade It’s not surprising therefore that drama is as by 2019, that figure was closer to 60%, plus A marketing, we were able to maximise crucial for SVOD platforms as it is for linear there’s an additional 8% of viewing taking viewing. That meant we got some spectacular television. Indeed, it’s where the SVOD place on devices. For the BBC, overnights are viewing figures. Ahead of episode eight platforms are concentrating their efforts. an indicator of performance rather than a airing on BBC1, roughly 50% of viewing had Close to 60% of content hours on Netflix true measure of audience value. It is only day already taken place. In other words, before and Amazon in 2019 came from the drama one. it had even been transmitted, we banked an category. It’s where they spend both their audience of four million. In fact, more viewers commissioning and their marketing money. Some dramas have a significantly different watched the finale before it was broadcast, audience when looking at device viewing. than watched live and in the seven days Drama ticks a number of boxes for SVOD Peaky Blinders was the most-watched following. But it’s this unique combination services. It’s a great acquisition tool, driving BBC1 drama series ranked by additional of linear and on-demand that really drove subscription revenue and bringing people audience on devices on average in 2019. viewing. to trial the service for the first time. Drama This is a known title where viewers feel the series are also highly emblematic of a service: continued success of Silent Witness, now Above: Killing Eve © BBC need to get up to speed before the next TX. For younger audiences (16-34s), the figures think of The Crown for Netflix, Transparent in its 22nd year, is in part testament to the Whereas The Capture, a brand-new drama, were even more compelling. Younger for Amazon or Game of Thrones for Now TV. power of the double-night scheduling. The drew strength by word of mouth – with more audiences are far more likely to consume These shows kickstarted the SVOD revolution. purpose of all these scheduling strategies viewing in the 8-28 day window than in the a series ahead of TX, or post TX. They are Returnable series amplify value; length of is of course to maximise scale and reach. first seven days. both fashionably late, and unfashionably series drives habit. The modern-day linear But it’s also more than that. We optimise early. And once they get into a series, they scheduler must compete against both the through linear and on-demand to make it More and more, the way we value content are voracious. By episode eight, over 80% of present, and the past. as easy as we can for viewers to complete a is becoming more nuanced. We look to the the younger audience’s viewing had already series. Viewers who watch a full series are continued value of content over time, on all taken place. Of course, I’m comparing Rachel Shaw, The BBC is leading the way in premium more likely to recall and value it. It becomes a platforms. viewing here to seven days after TX, or even Head of Content drama, with Line of Duty topping the top 10 complete and memorable experience. 28 days. With our own iPlayer data, we can Portfolio, BBC broadcast television dramas in 2019. We, Killing Eve: optimising audiences across see continued viewing six months later, like all channels, continue to look for ways What can BARB tell us about audience platforms a year later and even longer. We saw the to amplify the impact of our dramas, such as behaviour? If you look at the profile of consumption of series two prompting revisits through different forms of scheduling. Line viewing to drama on BBC1 (Jan-Sept 2019), Killing Eve is a great crime drama series and fresh visits to series one. The content of Duty moved from BBC2 to BBC1 to create 6.9% of live viewing was by 16-34-year-olds, DRAMA HAS that really lent itself to experimentation in continues to give value. greater exposure for younger audiences. rising to 12.4% of VOSDAL viewing. The BECOME THE scheduling. We knew that audiences reacted When we brought back Luther in 2019, further away you get from the TX slot, the to it in a very emotive way. They described it For the BBC, by helping audiences find and DEFINING GENRE we stripped it across the week, creating a more 16-34s contribute to viewing: 13.8% as thrilling and gripping – both great virtues complete a series, we create greater value. welcome appointment-to-view in the first for 1-7 days, 16% for 8-14 days and 17.1% for OF THE NEW VIDEO of crime drama. But they also felt it was We continue to experiment in ways to help week back at work in the new year. The 15-28 days. When you add in device viewing, LANDSCAPE weird, quirky and shocking. Knowing that viewers find and enjoy the content they love.
10 R H I A N F E AT H E R R H I A N F E AT H E R 11 LINKING STRATEGIC AND IMPLEMENTATIONAL PL ANNING The pace of change in media has never been returning channels across categories, it has only got bigger in 2020 following the Being able to understand when audiences THE FUSION OF faster; nor has it ever been more exciting, according to Thinkbox’s Demand Generator. launch of Apple TV+ and Disney+. These are consuming newer channels, such as challenging and at times overwhelming But we are always looking to make our developments make it more difficult to influencers and gaming, and then in turn TOUCHPOINTS for planners. This change has made media television plans more effective. One of reach these viewers on television, but it understand when and through which device AND BARB planning more complex, with the number television’s strengths is in generating broad is important that we try, as we know how they are also consuming television, helps ENABLES OUR of tools, systems and data sources available reach and BARB does an incredible job of effective television advertising is. Using the us to allocate budget and activity more TELEVISION PLANS to help build multimedia ecosystems delivering spot-by-spot measurement and integrated BARB and TouchPoints data, we effectively. So, for example, the fused dataset constantly increasing. It can be difficult to insight across multiple audiences. That can isolate the television viewing behaviours for March 2020 shows the importance of films TO B E I N T E G RAT E D understand where all of these new tools fit power increased when TGI was fused into of heavy SVOD viewers, and generate a top and entertainment to followers of influential WITH NEWER into the process and what the relevance of BARB to deliver more category-specific programmes / channels list for reaching them vloggers (44% of their commercial television MEDIA CHANNELS, their output is. audiences. We have been using this fusion with television advertising. The March 2020 viewing is to these genres, compared with WHICH HELPS for years and it has improved our television fused data show that heavy SVOD viewers are 40% among all adults). This becomes Consumer insight has always been key, planning and activation. light linear television viewers, but US reality, a media planning principle that can be US TO A L LO C AT E and never before have audiences been comedy and drama series still perform leveraged across all media channels, not just BUDGET AND able to be defined as precisely as they Nothing excites me more than the strongly on linear TV for them. We can television. ACTIVITY MORE can be now, with huge datasets owned by opportunity to see a new data set in a therefore work with our broadcast partners to E F F E C T I V E LY advertisers and powerful ways to combine these with third-party data. These data-led audiences help identify sources of demand traditional channel. So, the new fusion of TouchPoints into BARB, which launched in March, offers a number of interesting new create schedules that maximise our chances of reaching them. 5 Plan television across devices BARB’s Project Dovetail for to determine advertising strategy and drive business growth. But business impacts are only fully achievable if we can apply these ways to help us to improve the impact of our television planning: 3 Integrate mood into television plans TouchPoints allows us to programmes is the best view of how content is consumed across devices. We can take this gold-standard view and look at bespoke audience definitions to every step of campaign planning and implementation. This becomes a challenge of planning in one data 1 Trade more effectively We rarely want to reach a generic demographic audience; understand people’s moods across the day and week. This is a metric that can be planned into cross-media a level beyond pure demographics, including more behavioural data and the differences in device viewing across the day and week. source but buying in another. it’s usually a means to an end. strategies to align with specific creative One of the key tools that we use for strategic planning is IPA TouchPoints. This enables us BARB’s fusion with TouchPoints provides an additional data source to not only understand a previously unknown attitudinal opportunities or brand insight. Having the capability to understand which programme genres are associated with the moods of 6 Improved audience understanding for broadcasters to build bespoke audiences and understand audience, such as vegetarian gamers, and bespoke audiences can help us to align We are lucky at OMD UK to their moods and media behaviours across how they watch television, but also to look our advertisers’ messages with the most work with advertisers who are themselves the day. These insights can help to drive at which trading audience converts best for appropriate content. broadcasters. This data integration is a great incremental reach, frequency or word-of- this audience. The fused data for March 2020 opportunity for these advertisers to hone Rhian Feather, BARB’S mouth, and as we move to a “cookie-less” world, TouchPoints becomes an even more valuable tool. There has been, however, show that vegetarian gamers’ viewing of commercial channels is closer to that of ABC1 adults than 16-34s or housepersons with 4 Create television plans that make other media channels work more effectively in on more specific audiences for channel growth, not only to influence advertising decisions but also to adjust schedules and Connections Planning Executive Business Director, FUSION WITH a limit to the practical application of children. This opens the potential to be more Within the Connections Planning pilot new programmes. OMD UK TOUCHPOINTS TouchPoints media consumption information creative and rigorous in our trading decisions, team at OMD UK, we pride ourselves on OPENS THE for television, since it is designed for strategic to best reach our clients’ audiences. understanding the interplay between The media industry is constantly evolving, rather than implementational planning. channels and the role of each in driving and as a planner it is great that television POTENTIAL TO BE M O R E C R E AT I V E We can use it to determine which television channels we should consider, but not the 2 Get a better understanding of how we can reach the reach. However, as the lines are blurred between on and offline and newer media is continuing to innovate. This latest BARB and TouchPoints data fusion is a fantastic IN OUR TRADING programming or formats that will work most elusive SVOD viewer channels are added, this becomes more adaptation and one that will really help with effectively. There is no topic bigger in the AV difficult. The BARB and TouchPoints fusion planning television in a complex landscape. TO BEST REACH world than unidentified viewing, which has enables our television plans to be integrated OUR CLIENTS’ Television plays an important role in many increased by almost 9% since 2018, driven with newer media channels, as TouchPoints AUDIENCES media plans as it is one of the highest by viewers’ appetite for SVOD services. And carries information on all media usage.
12 P R OJ E C T D O V E T A I L TOTA L T E L E V I S I O N V I E W I N G 13 PROJECT TOTAL TELEVISION DOVETAIL UPDATE VIEWING People are increasingly watching television The table summarises the three stages of Project Dovetail BARB introduced a new definition of total television will then be known as total four-screen viewing. programmes on devices other than the TV set; the UK that have been delivered: viewing together with the launch of unduplicated television and advertising industry needs a trusted, programme reach and time spent viewing data in The previous definition of television viewing is now independent source of these multiple-screen viewing Census-level device data January 2020. The new definition is called total three- known as C7 TV set viewing. This table outlines the figures. BARB established Project Dovetail to meet Multiple-screen programme ratings screen viewing. Once router meter data are available, differences between what’s currently included in the two this need. Unduplicated reach and time spent viewing smartphones will be included in the definition, which definitions: PROJECT DEVICE TOTA L T HREE- S C REEN C 7 TV DOV ETAIL STAGE V IEWING S ET V I EW I NG TV PC Ta b l et S m a rtp h o ne Dev i ces TV sets Yes Yes PCs Yes – part of Project Dovetail No Tablets Yes – part of Project Dovetail No Collectin g device d a ta fo r p ro g ra m m e v i ew i n g Smartphones No 1 No 1 C ensus-level n/a (panel data for TV BVOD services report (launched in 2015) – includes viewing time via all BARB- P rogrammes Live linear viewing Yes Yes device data set viewing) reported BVOD services on PCs, tablets and smartphones. Timeshifted viewing through Yes – up to 28 days post-broadcast Yes – up to 7 days post-broadcast Fusing pan el and d ev i ce d a ta fo r p ro g ra m m e v iewing a PVR 2 M ultiple-screen Four-screen viewing dashboard (launched in August 2018) – multiple-screen programme audience figures Timeshifted viewing through Yes – up to 28 days post-broadcast2 Yes – up to 7 days post-broadcast programme for all individuals across TV sets, PCs, tablets and smartphones. a BVOD service ratings Pre-broadcast viewing Yes – if the broadcaster has No Demographic analysis of viewing on TV sets, PCs and tablets via BARB- Demographic registered data-processing bureaux (launched in August 2018). analysis of viewing on through a BVOD service supplied the asset smartphones to be On-demand only / non-linear Yes – if the broadcaster has No included once router viewing through a BVOD supplied the asset meter data are available service in 2021* C ommerci als Live Yes Yes 3 U nduplicated Unduplicated programme reach & time spent viewing available across TV sets, Unduplicated programme PCs and tablets (launched January 2020). programme reach & Timeshifted viewing through Yes – up to 28 days post-broadcast 3 Yes – up to 7 days post-broadcast reach & time time spent viewing a PVR spent viewing More extensive analysis, e.g. programme reach analyses for PCs/tablets and on smartphones to be Timeshifted viewing through No – in development No incremental programme reach analyses for these devices over TV sets, can be included once router a BVOD service conducted via BARB-registered data-processing bureaux. meter data are available in 2021* Uni vers e 4 Private homes with a TV set Yes Yes Private homes with a Yes No * Router meters will enable us to track panel members’ viewing on smartphones; deploying these meters in all panel homes means broadband connection but we will be able to track the demography of viewing on smartphones and unduplicated programme reach and time spent viewing on no TV set these devices. Kantar is installing router meters into the BARB panel. Initial data will be available from 2021. We include programme average audience figures for smartphones alongside other screens for all individuals by assuming that each Rep or t i ng met h od As viewed – viewing is counted as As broadcast – viewing is counted smartphone viewing session is viewed by an individual of unknown demography, i.e. one viewer-per-view. having taken place at the time of as having taken place at the time of viewing broadcast 1 Router meters will enable us to track panel members’ viewing on smartphones. Once router meter data are available in 2021, smartphones will be included in the definition as part of Project Dovetail, and the new definition will then be known as total four- W H AT ’ S N E XT ? screen viewing. 2 28-day limit only applies to TV sets; no time limit on PCs or tablets. The fourth and final stage of Project Dovetail, BVOD and advertisers plan advertising campaigns across 3 The trading currency remains live and timeshifted viewing of commercials within seven days of broadcast. campaign performance, is in development. In the interim, BARB-reported broadcasters’ linear channels and BVOD 4 BARB’s universes do not include: student halls of residence, military bases, pubs/bars, offices and prisons. we are launching a beta BVOD planner, to help agencies platforms. Contact firstname.lastname@example.org for details.
14 NEW INSIGHT NEW INSIGHT 15 PRE-BROADCAST MANIFEST (Sky 1) Percentage of total TV audience 100 On Demand VIEWING via TV pre-broadcast 80 Live via TV 60 Timeshift via TV (excl. Sky On Demand) 40 On Demand via TV post-broadcast Television informs popular culture in many audience achieved in episode one, there’s ways and over the years has spawned new finally some encouragement here for those 20 language to describe changing behaviour commentators who long ago predicted the - from water-cooler moments to box-set death of the television schedule. Only one bingeing. It may now be time for a phrase live broadcast (episode 14) of the last ten 0 that captures people’s viewing of episodes episodes in the series achieved more than 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 ahead of the broadcast schedule. 5% of its viewing live via the TV set. And Episode while almost two thirds of the audience to Source: BARB 30/07/19 - 05/11/19. Timeshift / On Demand are 28-day consolidated figures Several broadcasters have been the first episode used Sky On Demand to experimenting with making a whole series catch up post-broadcast, over two-thirds of available on-demand after the first broadcast the audience to the second episode used it episode. This extends on-demand viewing to watch pre-broadcast, a proportion that GOLD DIGGER Episode 6 (BBC 1) from playing catch-up to getting ahead – climbed thereafter. Given the option to view making workplaces risky territory for plot- ahead, viewers go for it. Average audience (000s) TV Set spoilers when the tea-break chat turns to television. Our second example takes a look at episode PC six of BBC One’s Gold Digger. It’s not quite as BARB’s ability to provide data about pre- revolutionary as Manifest – 30% of viewing Tablet broadcast viewing depends on the co- was live and just about all of that was on operation of the broadcasters; they supply the TV set – but pre-broadcast again took Smartphone audio assets to BARB so that the content can the lion’s share of viewing at 44%, and this be recognised by the measurement system even before its linear broadcast. This is was where devices played their biggest role, taking almost a quarter of the pre-broadcast 94.5% On-demand and timeshift particularly important for assets that might total across PCs (12%), tablets (8%) and post-broadcast never have a linear broadcast or have a linear phones (3%). The remaining 26% of the viewing* broadcast much later – such as content on audience viewed post-broadcast, again BBC Three. As BARB’s library of audio assets largely (94.5%) on the TV set. Perhaps these 1.7m continues to grow (now over 7,000, which has more traditional BBC One viewers were less 26% of total viewing On-demand pre-broadcast 77.1% doubled in a year), we will be able to build a richer base of insight about this type of inclined to view ahead of the schedule. 2.8m 44% of total viewing. So, as people are presented with a mix of viewing technologies for timeshifting their television The first example is Sky One’s Manifest, viewing, some are keener than others to Live viewing where the entire series was made available adopt new behaviours. BARB is getting ever 1.9m on-demand after the first episode’s airing. better equipped to provide the evidence and 30% of total Pre-broadcast viewing climbed across the insight that helps broadcasters cater for all viewing lifetime of the series to peak at over 92% kinds of viewing preferences. PRE-BROADCAST of viewing to the final, sixteenth episode. VIEWING CLIMBED 99.8% Almost a quarter of a million people really ACROSS THE went for it - BARB data show 241,000 viewers watched episode 16 (and presumably LIFETIME OF episodes 2-15 as well) within the week MANIFEST TO after the series debut and before the linear P E A K AT OV E R broadcast of episode two. 92% OF VIEWING With live viewing to any episode of Manifest TO THE FINAL Source: BARB, All individuals 4+, average audience never achieving more than the 10% of EPISODE * Includes VOSDAL, on-demand viewing on same day as linear broadcast, and all subsequent viewing within 28 days
16 NEW INSIGHT NEW INSIGHT 17 DEVICES IN THE VOLUME OF VIEWING ON NON-TV SET DEVICES Tablet Billion minutes per week PC Smartphone TV ECOSYSTEM Gavin & Stacey 2.0bn 2019 Rugby Christmas Special Love Island World Cup 1.8 1.6 I’m a 1.4 Easter Celebrity Ten years since the release of Apple’s shape of TV set viewing. Device viewing has 1.2 first-ever iPad in 2010, tablets are now come to reflect the settled daypart pattern commonplace devices. But taking under 1% that viewers are comfortable with for their 1.0 of viewing minutes across 2019, it’s clear TV set viewing, and builds to the same 2100 0.8 that tablets have enhanced rather than peak. (Note the difference in the scales here, disrupted TV set viewing. So, it’s fascinating though – with TV set viewing minutes almost 0.6 to delve into BARB data to investigate how 80 times the volume of minutes on devices.) people are using their various devices. 0.4 One key difference, however, is the steep The first chart gives a 12-month picture of increase in TV set viewing from 4pm onwards, 0.2 the billions of minutes viewed in 2019 on outpacing the slower build in device viewing; non-TV devices. It’s clear that it’s television’s perhaps a reminder of how the general 0.0 standout events that drive the peaks in population are watching at home rather than 6 Jan 3 Feb 3 Mar 31 Mar 28 Apr 26 May 23 Jun 7 Jul 4 Aug 1 Sep 29 Sep 27 Oct 24 Nov 29 Dec viewing on devices, and the dips coincide how commuters are viewing on smartphones Week ending 2019 with school and bank holidays, in line with and tablets in London and other cities. TV Source: BARB PC, tablet and smartphone census data, 2019 what we see for TV set viewing. It seems that set viewing is disproportionately strong in it’s during typical working weeks that people the clock-hours from 1600 to 2000 – taking use devices the most to catch up or get ahead an average of 98.9% of all viewing minutes of their viewing. across that time. TELEVISION VIEWING BY TIME OF DAY BY DEVICE Looking underneath the peaks and troughs, Focusing on devices, tablets take the Tablet PC Smartphone TV set tablets are the population’s first-choice lion’s share in every clock-hour, peaking Non-TV set viewing minutes (billions) TV set viewing minutes (billions) device in every week of the year: ranging at breakfast time and again after school, from 38% to 51% of the volume of non-TV set throughout the evening and then after the 15bn 500bn viewing. evening peak as people’s first-choice non-TV device for late-night viewing. 450 The popularity of Love Island amongst 12 400 young adults drives the year’s biggest device PCs and smartphones jostle for second-place viewing peak. And Love Island’s young device throughout the day – smartphones 350 audience, preferring smartphones and PCs to are more popular before work, but PCs then tablets, drive a different shape to the pattern edge ahead during the working day and are 9 300 of device use precisely during the show’s chosen ahead of smartphones for bigger- weeks on air. screen viewing across the evening from 1700 250 to 2300. It’s tablets and smartphones that Viewing on devices was also high during dominate non-TV set viewing in the wee small 6 200 September to December, driven by the Rugby hours. 150 World Cup and I’m a Celebrity. PC viewing in A DECADE ON particular was high during the Rugby World A decade on from the iPad’s launch, we’re FROM THE 3 100 Cup, perhaps unsurprising given that quite a now seeing a settled pattern in device usage I PA D ’ S L A U N C H , few games were live during weekday business for viewing: tablets as first-choice for most; 50 hours. In the final week of the year, The Gavin and a familiar shape to viewing across the TA B L E TS A R E and Stacey Christmas Special deserves a day. THE PREFERRED 0 0 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 0 1 2 3 4 5 special mention – leading to a festive peak in DEVICE WHEN viewing on devices. Time of day PEOPLE CAN’T Note: TV set viewing is plotted on a separate, larger-scale axis compared to device (smartphone, PC, tablet) viewing. Volumes of viewing minutes to TV set are significantly The second chart looks at device viewing W ATC H O N A higher at all times of day. Data are for identified viewing to BARB-reported channels on TV sets / tagged BVOD services on devices. Device data are census data across the day and overlays the familiar TV SET Source: BARB, 2019
18 NEW INSIGHT NEW INSIGHT 19 MOST-WATCHED TOP PROGRAMMES ON DEVICES, RANKED BY NON-TV SET AUDIENCE P rogramme Average au d i ence – i nd i v i d u als ( 000s ) P C Tab let S mar t p h one Non-TV TV 4-screen ON DEVICES total total 1 Love Island ( ITV2, 14/ 06/ 2019) 582. 8 308. 9 611. 0 1,502.6 3,993.7 5,496.3 2 Gavin and Stacey ( B B C 1, 25/ 12/ 19) 411. 7 233. 3 203. 1 848.2 17,072.5 17,920.7 3 Love Island: The Reunion ( ITV2, 04/ 08/ 19) 212. 0 145. 8 268. 7 626.5 3,296.9 3,923.4 4 I'm a Celebrity… Get Me Out of Here! ( ITV, 17/ 11/ 19) 280. 8 137. 9 166. 2 584.8 12,591.1 13,175.9 5 Line of Duty ( B B C 1, 05/ 05/ 19) 283. 9 185. 7 86. 0 555.5 12,137.5 12,693.0 6 Peaky Blinders ( B B C 1, 25/ 08/ 19) 274. 4 130. 5 147. 3 552.1 5,693.8 6,245.9 7 Jesy Nelson: Odd One Out ( B B C 1, 12/ 09/ 19) 207. 0 125. 0 183. 1 515.1 3,258.0 3,773.1 It no longer seems remarkable to watch Love Island would have claimed the 48 8 Killing Eve ( B B C 1, 08/ 06/ 19) 265. 6 133. 9 91. 5 491.0 6,624.1 7,115.1 television on a computer, tablet or phone. biggest audiences on devices in 2019, almost 9 Fleabag ( B B C 1, 08/ 04/ 19) 208. 3 136. 5 95. 9 440.7 2,491.6 2,932.3 Whether it’s to see something live, catch its entire broadcast run.) This particular 10 EastEnders ( B B C 1, 08/ 01/ 19) 147. 0 122. 7 150. 3 420.0 5,196.3 5,616.3 up on a show we missed or get ahead on a episode achieved an average audience of 11 The Apprentice ( B B C 1, 02/ 10/ 19) 204. 1 121. 7 93. 2 419.0 6,348.8 6,767.8 series we’re hooked on, our devices seem over 1.5m on devices, or 27% of its total 12 This Time with Alan Partridge ( B B C 1, 25/ 02/ 19) 200. 5 117. 6 89. 1 407.3 4,861.9 5,269.2 like an everyday way to watch television audience. Knowing its young audience 13 Leaving Neverland: Michael Jackson & Me ( C 4, 06/ 03/ 19) 242. 7 91. 1 62. 5 396.2 4,671.5 5,067.7 when and where we like, even though appeal, it’s perhaps not a surprise to see 14 The Capture ( B B C 1, 01/ 10/ 19) 187. 6 120. 4 56. 4 364.4 5,683.3 6,047.7 the TV set remains the go-to device when that Love Island achieved by far the biggest 15 Silent Witness ( B B C 1, 08/ 01/ 19) 186. 8 122. 0 54. 2 363.0 7,270.6 7,633.6 possible. smartphone audience in this top-ranked 16 Game of Thrones ( Sky At l an t i c, 28/ 04/ 19) 162. 5 121. 2 72. 5 356.2 4,627.7 4,983.9 table, with smartphone viewing comprising By fusing census-level device data with panel 11% of that episode’s total four-screen 17 Luther ( B B C 1, 04/ 01/ 19) 146. 6 125. 0 76. 9 348.4 7,240.0 7,588.4 data, BARB has been providing multiple- audience or 41% of the non-TV device 18 Rugby World Cup 2019: ENG v NZ ( ITV, 26/ 10/ 19) 153. 6 69. 9 109. 6 333.2 7,591.8 7,925.0 screen programme viewing figures since viewing. Other Love Island episodes drove 19 The Victim ( B B C 1, 08/ 04/ 19) 142. 0 124. 9 46. 2 313.1 6,198.7 6,511.8 September 2018. We can now see these data the highest absolute levels of PC and tablet 20 Love Island: Unseen Bits ( ITV2, 15/ 06/ 19) 110. 2 78. 2 117. 9 306.3 1,478.2 1,784.5 across a whole year, giving an overview of the viewing. Clearly Love Island was – for its programmes that gained most device viewers audience – something you just could not in 2019. miss. TOP PROGRAMMES ON DEVICES, RANKED BY PERCENTAGE UPLIFT ON TV SET Looking at the top table, we can see the Jesy Nelson: Odd One Out was the highest- P rogramme Average au d i ence – i nd i v i duals (000s) programmes that achieved the highest ranked documentary viewed on devices P C Tab let S mar t p h one Non-TV TV % uplift absolute audiences on devices. It’s a table in 2019 – almost certainly related to its total dominated by the shows that earned young appeal, but probably also that the 1 The Dumping Ground ( C B B C , 04/ 01/ 19) 12. 4 38. 0 37. 5 87.9 191.0 46.0% must-see status (and achieved the highest documentary launched and earned a 2 The Next Step ( C B B C , 13/ 12/ 19) 10. 8 23. 9 16. 1 50.8 123.3 41.2% television ratings) in 2019 – whether dramas reputation on BBC Three and was later aired 3 Love Island ( ITV2, 14/ 06/ 19) 582. 8 308. 9 611. 0 1502.6 3993.7 37.6% (such as Killing Eve, Line of Duty, Peaky on BBC One (which is the broadcast that’s 4 4 O'Clock Club ( C B B C , 06/ 02/ 19) 6. 9 16. 5 15. 1 38.5 103.3 37.3% Blinders, Game of Thrones), entertainment picked up in this table). 5 Love Island: Australia ( ITVB e , 05/ 11/ 19) 13. 8 11. 9 11. 1 36.8 112.5 32.7% (Love Island, The Apprentice, I’m a Celebrity) 6 Golf: Masters - Live ( Sky Spor t s Mai n Eve n t , 11/ 04/ 19) 9. 2 19. 8 7. 3 36.2 115.6 31.3% or sport (the Rugby World Cup semi-final The second table highlights the programmes between England and New Zealand). It was where device viewing drove the biggest 7 Live Renault Super Sunday ( Sky Spor t s P re m i e r Leagu e , 11/ 08/ 19) 24. 4 35. 8 29. 2 89.4 288.5 31.0% must-see premieres or series finales that percentage uplift in viewing. Often off a almost always drove the highest device smaller TV set base, the table is dominated 8 The End of the ****ing World ( C 4, 05/ 11/ 19) 97. 2 30. 9 53. 8 181.9 625.7 29.1% viewing to dramas; whether those series ran by children’s and young adult programming, 9 Made in Chelsea ( E4, 09/ 12/ 19) 55. 8 34. 0 28. 3 118.0 407.9 28.9% across several weeks or (in the case of Luther with a sprinkling of sports across golf, 10 The Only Way is Essex ( ITVB e , 24/ 03/ 19) 65. 8 65. 3 73. 3 204.4 733.9 27.9% and The Victim) consecutive days. football and cricket. WE CAN NOW SEE 11 The Worst Witch ( C B B C , 07/ 01/ 19) 10. 2 24. 9 14. 6 49.7 183.4 27.1% 12 Live EFL SF: Portsmouth v Sunderland Viewing on devices was also a reflection Love Island features again, with its sheer M U LT I P L E - S C R E E N ( Sky Spor t s Foot bal l , 16/ 05/ 19) 7. 6 20. 2 8. 8 36.6 135.5 27.0% of the public’s determination to catch a volumes of device viewing driving the biggest PROGRAMME 13 Sam & Billie Faiers: The Mummy Diaries ( ITVB e , 27/ 03/ 19) 41. 1 48. 7 39. 0 128.8 482.9 26.7% couple of legendary comedy comebacks: the percentage uplifts on TV set viewing; and VIEWING FIGURES 14 Shipwrecked ( E4, 05/ 02/ 19) 38. 6 26. 9 40. 5 106.0 400.2 26.5% Christmas Day edition of Gavin and Stacey – while some of the uplifts in this table are ACROSS A WHOLE 15 Almost Never ( C B B C , 29/ 10/ 19) 6. 2 15. 8 8. 6 30.6 116.3 26.3% the UK’s most-watched television comedy for driven off smaller TV set audience sizes, 17 years; and the first-episode return of Steve that’s not the case for lots of the young YEAR, GIVING AN 16 Live ICC World Cup SF: AUS v ENG ( Sky Spor t s Mai n Eve n t , 11/ 07/ 19) 22. 5 31. 1 37. 2 90.8 348.2 26.1% Coogan’s Alan Partridge. adult programmes here, which are achieving OVERVIEW OF THE 17 Live PL: Fulham v Man Utd substantial audiences on all four screens. PROGRAMMES ( Sky Spor t s P re m i e r Leagu e , 09/ 02/ 19) 16. 3 22. 9 18. 2 57.6 227.6 25.3% Topping the table is Love Island, an early T H AT G A I N E D 18 Love Island USA ( ITVB e , 21/ 09/ 19) 7. 7 9. 9 9. 1 26.7 107.5 24.8% episode in its highest-rated fifth series. (For 19 Live EFL SF: Derby v Leeds ( Sky Spor t s Foot bal l , 11/ 05/ 19) 15. 4 25. 6 15. 4 56.5 227.7 24.8% this table, we’ve taken out duplicates of the MOST DEVICE 20 Th e Mi s s i n g ( B B C 4, 20/ 03/ 19) 10. 9 10. 8 3. 8 25.5 102.8 24.8% same programme. Without that adjustment, VIEWERS IN 2019 Source: BARB 2019. Note: Data are for programmes with a minimum duration of 15 minutes and TV set audience of 100k+. Only the top programme per programme title is included. TV set data include SD, HD and +1 where relevant.
20 NEW INSIGHT NEW INSIGHT 21 DEMOGRAPHY ON COLD CALL (CHANNEL 5, 18-21/11/19), AGE PROFILE BY DEVICE 4-15 16-24 25-34 35-44 45-54 55-64 65+ THREE SCREENS TV PC Tablet 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% When BARB viewing figures are reported In the second example, we see again the Source: BARB, profiles calculated on live and 7-day consolidated viewing in the media, they’re usually the total impact of device viewing in enabling younger audience for the biggest Christmas Day audiences to access a programme, even when shows or a major sporting event. But for in this case (Love Island) the baseline age BARB’s customers, it’s crucial to know not profile in linear television is already skewed LOVE ISLAND (ITV2, 14/06/19), AGE PROFILE BY DEVICE just how many people are watching, but very young (60% under 35). Device viewing 4-15 16-24 25-34 35-44 45-54 55-64 65+ who they are. As viewing behaviour changes takes that young audience skew even further, and new platforms become more important, with the under-35s accounting for 67% of our industry wants answers to that question this episode of Love Island’s viewing on TV for viewing on all platforms and devices – tablets and 81% of viewing on PCs. We’ll be but often the data available are for devices, able to see the demographics of smartphone not people. viewing to this show when the enhanced data PC become available. That’s where representative panels come in, Tablet and it’s how BARB has been able to report In 2019’s Viewing Report, we saw that UKTV’s programme average audiences across four Taskmaster’s male bias on linear television 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% screens for all individuals aged 4+ since was contrasted by a female bias in viewing on September 2018. We do this by combining devices. Source: BARB, profiles calculated on live and 7-day consolidated viewing device-based census data from BVOD services (showing the number of PCs, tablets and This year, it’s Fleabag that challenges gender smartphones used to watch programmes) expectations. In the third chart, we see with our panel data, which show the number the gender split of Fleabag across TV set, FLEABAG (BBC1, 04/03/19-08/04/19), GENDER PROFILE VS AVERAGE of people watching and who they are. PC and tablet, contrasting each time with Men 16+ Women 16+ the average for BBC One on those devices. For viewing on TV sets, PCs and tablets, wider The gender mix of Fleabag viewers on the 100% demographic profiles are also available. And TV set was 50/50 male/female, showing a once the roll-out of router meters to panel slight female bias relative to the BBC One homes is completed, demographic profiling average. Typically, BBC One viewing on PCs 80 will be available for smartphone viewing too. and tablets show a strong female bias, with TV set PC Tablet women making up around two thirds of the The current multiple-screen viewing data audience. But Fleabag broke that rule, with allow us to discover examples of programmes men accounting for a remarkable 51% of the 60 where viewer profiles really differ across tablet audience, and 46% of the PC audience. devices. Volumes of viewing to Fleabag on devices remained high for women, so the difference 40 The first example is Cold Call, a four-episode in gender mix was about growth in male original drama broadcast on Channel 5 in viewing, not fewer female viewers. November 2019. Its TV set audience had the kind of age profile we might expect for 20 a linear television drama, with just under half the audience over 65 and less than 13% under 45. Device viewing typically drives a IT’S CRUCIAL TO 0 younger audience profile but did so strongly KNOW WHO IS BBC1 average Fleabag BBC1 average Fleabag BBC1 average Fleabag in the case of this series – with 25% of viewing VIEWING – ACROSS on tablets, and over 45% on PCs, accounted for by under-45s. A L L P L AT FO R M S Source: BARB, profiles calculated on live and 7-day consolidated viewing Note: Average gender profile for TV set is based on the BBC1 timeslot average for 2019. Average gender profile for PCs and tablets is based on all BBC1 programmes with AND DEVICES device viewing in March-April 2019.
22 NEW INSIGHT SVOD NEW INSIGHT SVOD 23 THE SVOD CHART 1: SVOD HOUSEHOLDS Any SVOD Percentage of UK homes Netflix Amazon Now TV Two+ services Year-on-year change REPORT 2020 Q4 2019 v Q4 2018 60% +2.0m 50 +2.0m 40 30 +1.9m The 2010s saw a seismic change in how that takes only one continuing to decline. British viewers could watch television, with In Q4 2015, homes that had Netflix as their an explosion in the number of platforms, only service represented almost two-thirds of 20 +1.7m devices and catch-up services available. The SVOD households. That figure is now at 45%, only constant was that the British love affair but we can see that Netflix has not lost those 10 with the TV set remained undiminished; customers, rather these Netflix homes have +0.1m the total daily time spent with a TV set in added other SVOD services. 2019 was 242 minutes, the same as in 2010. 0 However, TV set use changed significantly Netflix and Amazon is the most popular Q2 2014 Q4 2014 Q2 2015 Q4 2015 Q2 2016 Q4 2016 Q2 2017 Q4 2017 Q2 2018 Q4 2018 Q2 2019 Q4 2019 over the decade. combination and has increased significantly, Source: BARB Establishment Survey. Household weight . from 9% of SVOD homes in Q4 2015 to One change is the ability to access almost one in three now. This may be subscription video on-demand (SVOD) because Amazon offers other benefits as CHART 2: SVOD SUBSCRIPTIONS OVERLAP services, and with the BARB Establishment well as television content. The number of Survey tracking the take-up of SVOD households that can’t miss out on any service subscriptions in UK homes (chart 1), the is also growing; homes with a subscription to trend is clear. In Q4 2019, the proportion of all three services now represent 6% of total Netflix Amazon Netflix Amazon Netflix Amazon homes that had a subscription to at least SVOD households. 65.8% 9.2% 13.0% 48.8% 21.7% 14.9% 44.9% 32.0% 11.2% one of Netflix, Amazon Prime Video or Now 1.5% 4.1% 6.1% TV was 50.5%, a majority of homes for the The UK SVOD market is continuing to 4.1% 0.5% 5.0% 1.0% 3.4% 0.7% first time. Overall, 14.3 million UK households fragment with the launch of new services had one of these SVOD services, an increase like Disney+ and Apple TV+, so it will be NowTV NowTV NowTV of 2.0 million homes (16%), compared with interesting to monitor how the various 5.9% 4.5% 1.6% Q4 2018. overlaps develop. Netflix and Amazon saw similar levels of Establishment Survey data also provide an 2015 2017 2019 growth in the number of households that insight into the age profile of SVOD users. We SVOD in 23.5% of homes (6.5m) SVOD in 36.2% of homes (10.2m) SVOD in 50.5% of homes (14.3m) subscribe to their services. Amazon’s can compare Q4 2014 data with Q4 2019 data Source: BARB Establishment Survey Q4 2015, 2017, 2019. Household weight. Percentages based on homes with an SVOD subscription increase represents a larger year-on-year to see how the proportion of subscribers from percentage growth of 35% to 7.1 million different age groups has changed for each of homes, versus Netflix’s 20% increase to the three SVOD services. CHART 3: AGE PROFILE OF SVOD SUBSCRIBERS 12.4 million homes, due to Amazon’s lower number of subscribers. Chart 3 illustrates that in Q4 2014, younger 4-15 16-34 35-54 55-74 75+ age groups made up the highest proportion Percentage of subscribers The number of homes with access to more of users for the SVOD services, as you than one SVOD service has also gone up. As might expect from early adopters of new 2014 Netflix of Q4 2019, 6.0 million homes had access to technology. For example, 62% of Netflix 2019 two or more services. users were then aged under 35, with similar IN Q4 2019, A 2014 proportions for the other two services. MAJORITY OF Amazon We can also look at the progression of these 2019 overlapping subscriptions. Chart 2 compares A younger skew to these services remains HOMES HAD A 2014 the Q4 2019 data with Q4 2017 and Q4 2015. in Q4 2019, but there has been a larger SUBSCRIPTION TO NowTV 2019 Compared with Q4 2015, the number of UK proportional growth among older audiences. AT L E A ST O N E O F Survey homes with a subscription to at least one Users aged 55-74 have increased the most of 2019 NETFLIX, AMAZON population of the three SVOD services has more than any group, particularly for Amazon, where the doubled. Of these homes, just over 42% take proportion of these users doubled from 2014 PRIME VIDEO OR 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100% more than one service – with the proportion to 2019 to 16% of the total. → NOW TV Source: BARB Establishment Survey, Q4 2014 v Q4 2019. Population weight. Survey population data based on Establishment Survey Q4 2019
24 NEW INSIGHT SVOD NEW INSIGHT SVOD 25 → Although older SVOD audiences have grown of the TV set is increasingly becoming a CHART 4: UNIDENTIFIED VIEWING BY ETHNIC GROUP over the last five years, these groups are still primetime activity. Chart 5 looks specifically under-represented when compared to their at the 9-10pm slot for every day of the year 2014 2019 proportion of the general population (see to see whether it was won by unidentified Unidentified viewing, number of minutes final bar), with younger audiences over- viewing as a whole, or a BARB-reported 70 represented. Those aged 55-74 were 22% of channel. There were 110 days in 2019 when the UK population in Q4 2019. While it may be aggregate unidentified viewing was ahead 60 unlikely that the age profile of SVOD service of any single BARB-reported channel in the users will reach parity with the general 9pm slot, almost double the 2018 figure. 50 population, it suggests that older audiences In a timeslot where broadcasters air their 40 could be a subscriber growth opportunity for best programming, they are increasingly SVOD services. competing with unidentified use of the TV set 30 as well as with one another. As SVOD subscription levels rise, we have 20 seen an increase in unidentified viewing, It is important to note that by taking 10 which includes all TV set use that BARB unidentified viewing as a whole, we are not cannot yet identify. This includes viewing comparing BARB-reported channels with 0 to programmes more than 28 days after SVOD viewing alone, let alone viewing to All individuals 4+ Bangladeshi/ Black African & mixed Black Caribbean & White All other broadcast, gaming, watching DVDs and individual SVOD services, as unidentified Indian/Pakistani White/African mixed White/Caribbean backgrounds watching SVOD services or online video viewing includes anything that isn’t viewing Source: BARB All individuals 4+ platforms. Unidentified viewing now to a BARB-reported channel. We have accounts for 52 minutes of TV set viewing excluded unidentified viewing via a games per day on average, or a 21% share of TV set console from this analysis, to reduce the CHART 5: 9PM TIMESLOT WINNER: UNIDENTIFIED VIEWING VS BARB-REPORTED CHANNEL viewing for all individuals, an 8.5% growth likelihood that the use of the TV set is for Unidentified viewing BARB-reported channel Number of 9pm slots since 2018. Over the same period, viewing gaming. That said, the pattern is clear. won by unidentified viewing to BARB-reported channels fell by 4% to 191 minutes per day. We know that there is a significant correlation between the increase in unidentified 2016 3 It is possible to break down unidentified viewing and the rise in the number of SVOD viewing by ethnic group (chart 4). It’s clear subscriptions. Chart 6 demonstrates the that the increase in unidentified viewing is strength of this correlation since 2014, with 2017 15 universal – every ethnic group does more an almost-perfect R2 of 0.97. This illustrates unidentified viewing now than five years ago. that SVOD services are the major factor leading to the growth in unidentified viewing. 2018 58 There is a wide spread in the levels of unidentified viewing. For example, in black The SVOD services have been the catalyst Caribbean (including mixed white/black for significant transformation over the past 2019 110 Caribbean) homes, unidentified viewing is decade; that these three services have got now 66 minutes a day on average, higher into half of UK homes in this time is a major Jan-Mar Apr-Jun Jul-Sep Oct-Dec than for all individuals. This is more than change to the television landscape. Source: BARB TV set viewing for all individuals 4+. Analysis excludes games consoles from unidentified viewing. Average minutes viewed in 9pm slot 15 minutes a day greater than the 49 daily defined as 21:00:00– 21:59:59 average minutes in Bangladeshi/Indian/ We know that finding out how much TV set Pakistani homes. However, these two figures viewing is accounted for by SVOD services is are both around 30% of the total TV set high on the industry’s wish list. BARB began CHART 6: UNIDENTIFIED VIEWING VS SVOD PENETRATION viewing time in these homes – so there is rolling out router meters to panel homes Homes with an SVOD subscription, millions also a higher amount of TV set usage in black in October 2019. One of the major benefits 16 Caribbean homes, compared to other ethnic is that router meters will enable us to groups. measure SVOD viewing at an aggregate level. 14 Alternatively, should these services decide 12 Q4 2019 In fact, for all ethnic groups apart from white to be BARB-reported, we can also measure 10 Q4 2018 homes, the proportion of total TV set viewing audiences to their individual programmes Q4 2017 8 time that is unidentified is greater than the with the same technology we use to measure EVERY ETHNIC 6 Q4 2016 R2= average for all individuals. Whether these viewing to broadcasters’ non-linear content. high levels of unidentified viewing are driven Either way, by 2021, we expect to have a great GROUP 4 Q4 2015 0.97 by SVOD services, gaming, or by viewing to deal more insight into SVOD viewing. DOES MORE 2 Q4 2014 overseas-based channels not measured by UNIDENTIFIED 0 BARB (or any combination of these), it is clear VIEWING NOW 0 10 20 30 40 50 60 that viewer behaviour is not one-size-fits-all. THAN FIVE Unidentified viewing (average daily minutes) BARB data reveal that unidentified use YEARS AGO Sources: BARB panel: average quarterly unidentified viewing; BARB Establishment Survey: SVOD penetration
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