White paper – The commitment of the viewer

The commitment of the ViewerHow the second screen changes the television experience

White paper

The commitment of the viewer – How the second screen changes the television experience ©William Schlegel - 2013

SummaryTelevision is the medium which dominates the audiovisual landscape, it picks up even the bigger share of advertising budgets.

Despite the breakthrough of the new modes of consumption and new screens, the average listening time continues to progress. However, the biggest consumers are older and the younger are moving away from this screen.

The connected TV provides services around the video and catching up. The current trend turns more to the social TV which tries through greater interactivity to bring the youth in front of the shows for this purpose. And the results in terms of audience are rather good.

However, the attention is much more on the second screen, especially during the advertising breaks, which is detrimental to the perception of messages from advertisers.

The solution must answer the two issues: get attention during the show and continue to entertain viewers during commercials. In this regard, the only social TV is a dead end.

The engagement of the viewer must be driven on the duration and a generational perspective to achieve both technophiles and young viewer, sensitive to the social aspect, and regular viewers who consume all types of emissions.

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Table of contents

Summary........................................................................................................................................................2

Some figures about television.........................................................................................................................4

The connected TV............................................................................................................................................6

A given interest at issue..............................................................................................................................7

Interactive television.......................................................................................................................................8

The interactive interface...............................................................................................................................11

Second screen usage with the TV..................................................................................................................12

Second screen usage evolution.................................................................................................................13

The commitment through the social TV........................................................................................................15

Twitter.......................................................................................................................................................15

Other forms of commitment.........................................................................................................................16

The chains now rely heavily on the conversation on networks................................................................16

But the social TV isn't only Twitter............................................................................................................16

What will be the levers to engage.............................................................................................................17

How does the viewer who makes the social TV........................................................................................17

How effective on the audience?................................................................................................................18

What is going to make the success of social TV........................................................................................18

The NPA tools of the social audience measurement................................................................................19

What monetization for social TV?.............................................................................................................19

The commitment through the management of the Viewer..........................................................................20

Why social TV is a dead end......................................................................................................................20

Advertising on the second screen.............................................................................................................21

An accompaniment on the duration.........................................................................................................21

Determine its purpose and its target........................................................................................................21

The solutions proposed by gamific.tv...........................................................................................................23

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Some figures about television

Television dominates the French media landscape

98% penetration among French households in 2012 34% of the advertising market mainstream media in 2011 32% of the time devoted to media

Evolution of the daily time listening

19931994

19951996

19971998

19992000

20012002

20032004

20052006

20072008

20092010

20112012

2:38

2:52

3:07

3:21

3:36

3:50

4:04

2:56 2:563:00

3:09

3:173:22

3:26 3:27 3:25

3:47

In 2012, the average time spent watching TV daily reached the record figure of 3 h 50.

Television is still the favorite media for advertisers by capturing most of advertising investment

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Television34%

Internet17%

Boards12%

Magazines12%

Newspaper8%

Radio8%

Free5%

Other4%

Advertisement investment by medium in France (2011)

Average age of viewers in 20121

27 y 49 y

36 y 50 y

41 y 50 y

43 y 57 y

45 y 57 y

45 y 58 y

49 y 59 y

1 Source puremedias.com

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The connected TVCommonly known as 'Smart TV'

The definition of a connected TV is very simple: it's a TV connected to the internet.

Access to online services and the Web from their TV content: they are only 18% of consumers to have adopted this use on a daily basis according to a study by NPD DisplaySearch2. 44% say do not be interested by the connected TV and 30% are not equipped for.

18% of people (over 14,000 respondents) who declare no daily Watch Web content on their TV show. According to the study, they are 25% to do so several times a week. At the same time, 44% of consumers surveyed explain not be interested in viewing Web content on their televisions.

They are also 30% to declare not to be equipped with necessary equipment for such use. And among this population basic, only a third of them added that they would be concerned if given the opportunity.

According to the study, the first terminal for accessing Web content remains, without doubt, the computer, either the workstation or laptop.

However, the uses are very poor and the potential is therefore very important. For the French, the connected TV amounts currently to:

The catch-up TV (70%) The electronic program guide (64%) Data storage (57%) Convenient services (56%)

The interactive aspect is totally put aside, lack of offers.

2 http://www.displaysearch.com/cps/rde/xchg/displaysearch/hs.xsl/connected_tv_study.asp

6

http://www.displaysearch.com/cps/rde/xchg/displaysearch/hs.xsl/connected_tv_study.asp


A given interest at issueSome already announce the death of the Smart TV3, replaced by the second screen.

Too many applications unrelated to television, questionable ergonomics, no standards and no coherence in the proposed applications. Diversity and fragmentation of products and technologies is an obvious obstacle.

Viewers want to use their TV to what it knows best: watch pictures and videos. Not to read books, tweet, comment on Facebook or surfing the internet.

In fact, manufacturers have tried to differentiate by proprietary technologies but they have in the end managed to make their offer confused and put off viewers from the connected TV.

3 http://readwrite.com/2013/05/03/why-innovation-is-moving-outside-the-tv

7

http://readwrite.com/2013/05/03/why-innovation-is-moving-outside-the-tv


Interactive television

Define interactive television is more complex. The amalgam is often done with the previous definition while the two concepts are very different realities.

Unlike connected television, interactive television does not propose to consume content from the network on television, but to take part in the show which is broadcast.

We can also talk about interactive television unless it is connected.

Interactive television is a very old concept, first shows offering viewers to react with the program dating from the 60s/70s with phone calls and premium rate SMS later.

Interactive and connected TV is something more recent. It is worn in Europe by the HbbTV initiative.

Another approach is made by transmedia programs, which are programs that are available on multiple media to tell a story, and the television component can complement online, often in the form of associated web site.

Here are a few examples of programs (from French broadcasters) that include a share of interactivity in their concept. It is still often experimental broadcasts.

The program “C Dans l’air” on France5

Since April 2012. (Source: France5)

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For the first time in Europe, through the European standard HbbTV (Hybrid

Broadcast Broadband TV), an audiovisual group uses the potential of the

connected for one of its daily programmes live television. France 5 and its

magazine of decryption of the news, “C dans l'air”, presented each night of the

week by Yves Calvi, who has the privilege. Now, viewers with compatible with

this standard televisions can, simultaneously, when they look at C in the air,

simply access via their remote control, all the information and the many

features offered by the television connected in HbbTV.

Holders of connected TVs are very simple access interactive services. A tool can

simply: their remote control. Thanks to it, viewers may at any time access to

new content, navigate through the proposed offers and also easily return on the

television they watch.

Small murders by Agatha Christie on France2

April 2013. (Source: France2)

Enjoy the first interactive experience around a police series on france2.fr, live

and in sync with the TV broadcast.

At the start of the second episode murder with champagne, you are invited to

find the culprit. By connecting to the page of the small murders of Agatha

Christie, on this site with your computer or your tablet, you receive clues and

questions to investigate with Commissioner Laurence and journalist April.

Via a wire of tweets, you can share, if you want, its indices and analysis with

other viewers. If you do not feel the soul of a detective, you can receive bonus

live (plugs characters, animations, videos...) and watch the episode without

conducting investigation. Marlene, the Secretary of the Commissioner, is the

leader of the game. It accompanies you throughout the experiment by

introducing, with a touch of malice, the interactive sequences.

Among the most perceptive players, two winners nominated by draw, earn the

Samsung galaxy tablet.

Already find on this site the bonus video, interviews with the actors, the

bloopers and the world of the small murders of Agatha Christie.

Hawaii Five-0 on M6

April 2013. (Source: M6.fr)

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M6 has proposed exceptional and unique interactive programming in France

Saturday, April 13:

For the first time, viewers had the opportunity to decide in real time from the

end of an episode of a series, in voting on heroturko.com, M6, Twitter and

Facebook application. They were able to vote during the broadcast of the first

part of the episode of Hawaii 5-0 20:50.

3 potential culprits, 3 possible endings...

To 46%, viewers have designated as guilty president!

The end alternative who won the most votes on all media aired at the end of the

advertising break.

Sport on Canal +.

Use of the second screen (Tablet essentially) to allow the viewer live changing the angle of the cameras broadcasting the football matches, to see replays, noted players...

Roland Garros on France TV

At the Roland Garros tennis tournament, one offers additional content accessible directly on television such statistics to highlight, detailed records of the players...

Borgia on Canal +

The series offers an immersive on Tablet and mobile game. It does not take place during the series, but before or after, to extend the television experience in the same universe

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The interactive interfaceEssential to collect data from the user: a data entry interface.

These possible interfaces are as follows:

Interface Benefits Disadvantages Comments

Fixed phone Significant penetration

Very easy to use

Easy monetization with premium rate numbers

Limited opportunities

Requires an uncomfortable action

Former preferred mode to collect the choice of viewers, it is less used nowadays

Mobile phone (featured phone)

Allows to use premium rate SMS

Very widespread

More comfortable to use

Each viewer may also have one

Limited opportunities

Has replaced the fixed phonein many areas

Smart phone Many possibilities

More and more widespread

Allow user to do something else

Distraction tool

Becomes the viewer’s constantly hand tool

Tablet Very well adapted to the living room

Adopted by all audiences

Distraction tool

Still low penetration

Probably best suited to a rich interactivity

Remote control All TVs are equipped with

Fairly easy to use

Very low range ergonomics

More and more complex

Suitable for simple interactions but ergonomics is clearly a big issue.

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Second screen usage with the TVWhat do people watching TV with their second screen?

Did they watch commercials or their mobile screen?

Issues that it is legitimate to ask when must analyze the return on investment of a production support under the business model of television channels.

The increase in usage and multi-screen experiences change the relationship between the viewer and the TV that becomes more than a part of this experience. Recent studies show that social interactions during television programs increased commitment from viewers. Figures for the loyalty program and even the increase of the hearing would be likely to enjoy this

multi-tasking. But remains nevertheless posed the question: what do viewers for advertising?

The recent study of Symphony Advanced Media4 brings some elements of response.

This study attempts to measure the effects of cross-media advertising using a passive measure of exposure to advertisements. This type of measure retrieves information about the panel every second, every day without requiring participants to perform any action. For this purpose they use a single synchronization source on television, online elements and their use.

The result shows that 30 to 40% of the time by watching the television commercials is occupied concurrently with the use of mobile devices.

These results are limited to 3 cases to use for testing: a great consumer brand, a brand of technological products and pharmaceutical brand. The three used campaigns were national campaigns. It is also important to clarify that the panel was composed of people using their mobile TV, and that they are therefore not representative of the whole of mobile users.

Overall, on all the participants, the average time spent watching the mobile (phone or Tablet) is almost of a third of the overall television time.

The researchers note that viewers do not leak the television, they simply grab their tablet or their phone and their focus on these.

The study does not measure the effect on the attention paid to advertising or its effectiveness. But earlier research by the IAB suggested that the multi-screen audience more easily remembered advertisements on television. This surprising result is the fact that users of second screen during the advertising break do surfing on other channels or cut the message and were therefore exposed to the message of the brand on the screen. A phenomenon of listening more than watching television to mark their spirit.

Study of Symphony Advanced Media also found that viewers who were exposed to an ad on one of the 3 test campaigns consumed on average over 24 hours of television per week, while those who were not exposed to an ad watched on average 10 hours per week. This is a pretty logical result, high consumers of television are more likely to be exposed to a particular advertisement that small consumers.

Other measures showed that the favorable feeling and the reputation of a mark increased by 51% and 22% respectively when the champagne was both on TV and online against a single TV campaign.4 http://cimmusorg.startlogic.com/wp-content/uploads/2012/07/CIMM-Cross-Media-Results-by-SymphonyAM.pdf

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http://cimmusorg.startlogic.com/wp-content/uploads/2012/07/CIMM-Cross-Media-Results-by-SymphonyAM.pdf

http://cimmusorg.startlogic.com/wp-content/uploads/2012/07/CIMM-Cross-Media-Results-by-SymphonyAM.pdf


Second screen usage evolutionDevices

Tablets Android Blackberry iPhone Computers0.0%

10.0%

20.0%

30.0%

40.0%

50.0%

60.0%

dec-10juin-11dec-12

Allocations by type of emission

Smartphones69%

Tablets26%

Computers5%

Reality show

iPhones

Blackb

erry

Android

Others0%

10%

20%

30%

40%

50%

60% 56%

15%

22%

7%

Smartphones

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Smartphones52%Tablets

41%

Computers7%

News

iPhonesBlac

kberr

yAndro

idOthers

0%

10%

20%

30%

40%

50%

60% 56%

17%

22%

6%

Smartphones

Smartphones68%

Tablets28%

Computers4%

TV Series

0%

5%

10%

15%

20%

25%

30%

35%

40%

45%

50%50%

15%

27%

8%

Smartphones

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The commitment through the social TV

Twitter5

State of the art

5% of the French (15 years and more) have a Twitter account and use it currently.

On the whole of the French population aged 15 years and more, nearly 9 out of 10 French have heard of Twitter (89%).

Among them, 11% own or have previously owned a Twitter account. In detail, 5% say they have a Twitter account and that they are currently using while 6% indicate having already seen one but no longer use it.

The vast majority of the French thus never had account Twitter (89%).

Practices

When they use their Twitter account, active Twittos have more passive use (read) only active (write) Twitter.

Almost 6 active Twittos on 10 declare read (other than their own) Twitter accounts at least once every two days (59%), 31% doing so even several times per day.

On the other hand, they are only one-third (33%) to send tweets at least once every two days, only 13% emitting tweets several times a day.

Twitter thus appears more as a means of information and communication.

Potential

The potential of new Twitter users remains fairly limited. Most people not using anymore their Twitter currently or not having Twitter account did not intend to create one or use it again (93%).

Only 7% say they intend. Note that the younger (less than 35 years, 10%) or male (9%) would be more reluctant to do so.

The development potential of Twitter is therefore relatively limited.

Twittos profile

Over the investigation active twittos profile emerges clearly.

This population is characterized by its youth. Indeed, almost two-thirds of the active Twittos have less than 35 years (61%).

It is also a more masculine than the average (55% of men) population and who resides more in urban areas (more than 100 000 inhabitants, 67%) and “île de France” (33%).

5 http://www.e-marketing.fr/Infographie/Seuls-5-des-Fran-ais-ont-un-compte-Twitter-52649.htm and http://www.auramundi.fr/pdf/infographie_etude_twitter.pdf

15

http://www.e-marketing.fr/Infographie/Seuls-5-des-Fran-ais-ont-un-compte-Twitter-52649.htm


Other forms of commitmentNPA Consulting showed Tuesday 16 April its new tools for measuring the social TV 6. In addition to this, they engaged elements for understanding the phenomenon of social TV while replacing certain received ideas.

Thus, 76% of people are now watching TV with a smartphone or a tablet in the hands. It is the advent of the “second screen” that explains the current craze for social TV. Some even claim that it takes the place of the first which is probably not so easily demonstrable when both uses are different.

The chains now rely heavily on the conversation on networksBeing armed with their second screen, viewers are tweeting during the shows they watch. They tweet even more since there was a 270% increase in less than a year to reach 8.2 million tweets in March 2013 while we had about 3 million tweets exchanged about TV in June 20127.

The current record of the number of tweets sent around a program amounts to 1.5 million, during the NRJ Music Awards.

691 000 people have left at least a comment on Twitter in March 2013, + 80 per cent compared to June 2012.

This count of the number of tweets and social interactions became the counter 'fashionable' and channels communicate on it. But there is more.

7 Major channels Facebook pages have increased their number of fans by 87% on average between April 2012 and April 2013.

NPA totalized 1 million tweets a week all channels combined and one million interactions on Facebook around TV programs (50 pages - among the largest - analysed on 500, which

leaves a margin).

Philippe Bailly, founder of the firm also stresses the strong current innovation period. We are witnessing a phase of enrichment on Twitter but also Facebook, development of applications strings, bubbling, and innovation, and the public interest is growing on these services.

But the social TV isn't only TwitterSocial TV is not that of the collective chat live around reality TV or football matches broadcasts.

It is certainly one of its aspects, like “The Voice”, that via the My TF1 connect application, accentuates the live viralization of contents (excerpts, reviews, likes shares)

But it is also varied interactions with the viewer, as evidenced by the examples already mentioned

6 http://www.npaconseil.com/etudes/mars-2013-limpact-de-la-social-tv-sur-lexperience-de-television/7 Source Mesagraph

16

http://www.npaconseil.com/etudes/mars-2013-limpact-de-la-social-tv-sur-lexperience-de-television/


What will be the levers to engageShow that something happens on TV: you can display tweets from viewers, or other interactions, knowing that the restraint necessary for compliance with the CSA (media authority) standards will make them quite dull and bland.

Rely on the animators: the official accounts of facilitators and the candidates are an important vector for messages and generate enthusiasm.

Write the show in order to stimulate the exchange: engagement and conversation will be facilitated if the show is thought at the base to stir them up. Create controversy, discussion topics, raise them regularly. Write the show thinking about generate and maintain the discussion.

Propose a companion application can increase the participation of the public that are offered more interactive opportunities. This however complicates the user experience (need to download an application)

Rely on the influencers: the conquest of “opinion leaders” on each community of interest proved valuable to stimulate the interaction of the greatest number.

Strongly promote the official site which remains a fixed anchor outside the show and allows maintaining the relationship of one broadcast to the other.

How does the viewer who makes the social TV The Agency Iligo8 issued a barometer of the multi-screen uses dedicated to social TV. They put forward on this occasion four profiles according to their relationship to broadcast programs and their expectations of the social TV

There are thus:

8 http://www.iligo.fr/

Funny socializers

Emotional socializers

Factual socializers

Brainy socializers

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Relational order

Emotional order

Connivent lookDistanced look


The “Emotional Socializers” are attached to their program and seek a sense of belonging to a community of fans with the social TV. They are particularly involved around sports programs, culinary programs, or a “talent show”.

The “Brainy Socializers” are also attached to the program commented but looking forward with social TV for debate and the opposition of ideas. More than a sense of belonging, they are intended to inform themselves and are present on emissions of information or debates.

The “Funny Socializers”, younger, they adopt a critical stance towards the programs discussed. Social TV is a playful space for expression where humor and traits of mind are put forward. They mainly use Twitter to comment on reality shows or entertainment programming.

Finally the “Factual Socializers” are more distant towards programs and the practice of social TV. Plus that interaction with other viewers, the social TV is a way for them to contact the media to bring or ask for clarification on a program. They prefer ‘institutionalized’ workspaces like sites or pages of strings, programming, or journalists. The social hearing follows the life cycle of the program itself and the highlights of the show during the season (popular guests, resounding clash...)

There is a strong analogy between global audience and social engagement of the public, thus giving the conversational analysis predictive ability. The curves look the same (strong troughs correspond to cuts of advertising, picks the highlights of the program).

The more ‘socially active’ audience is one of 15-34 year olds. High share “The voice” for TF1 (40%). Promising areas: Entertainment, sports, politics and a bit of cinema (Harry Potter, le petits mouchoires)

How effective on the audience?On the scale of dissemination, is there a correlation between social activity and hearing TV?

NPA analyzed over 600 programs over a year. They concluded that in France 11% buzz translates into a point of TV audience. In the United States, 8.5% of buzz would be according to his calculations, 1% audience on the target 18-34 years.

This calculation joined the recent Nielsen ratings

On age 18/24, an increase of 8.5 per cent of the volume of tweets translates to an increase of 1% audience.

On age 35/49, this is a 14% increase in the volume of tweets which leads to an increase of 1% of the audience.

Still need to be very careful and distinguish between correlation and causation, because other factors come into play: the advertising investment and the audience of the previous year.

But in addition to recruitment, the interest and the issue of Twitter is also to engage viewers to limit zapping and increase the loyalty of the communities. A quality factor of the audience, regardless of power.

What is going to make the success of social TVThe schedule: it must be late, 38% of social interactions take place after 11 pm.

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The broadcaster: some, due to the nature of their programs and the attention paid to social devices, are more advanced than others. This is the case of TF1, which represents 40% of the social interactions of all of the TV programs.

The kind: Entertainment and especially reality shows, represents 35% of social interactions.

The generational factor: social TV brings together a young, even very young audience (12-17 years). This is the new playground.

Guests such as Justin Bieber are strong relays.

The NPA tools of the social audience measurementThe barometer of research firm seeks to measure three things:

Active engagement: power multi-universe emissions or broadcasters, all networks combined.

Digital resonance: the real impact on social networks by eliminating duplication (multi-postage on networks by one account for example) and factors limiting as the Facebook Edgerank, which no longer broadcasts an average of only 16 per cent of the posts of its members.

Commitment score of a program based on its audience. A calibration based on figures Médiamétrie in the 11-49 age group that represents 95% of the audience. A score of 74 means that there are 74 interactions for 1000 viewers in 11-49 years.

NPA also introduced a tool for qualitative measure of freelance press (laudatory articles, hearings, polemical, buzz upstream or downstream of the show), as well as a barometer of the most powerful influencers TV to know the proportion of the opinion multipliers (accounts, accounts stars, bloggers...).

What monetization for social TV?Monetization of social TV is still very incipient.

Some advertising devices try to enhance social “packages” (sponsored areas, multi-display devices,... sponsored tweets). But there is no linear increase in TV advertising rates. Fidelity, the quality of public engagement do not monetize directly. And yet, the additional sales volume remains low. Eric Scherer9 reminds that 97% of the advertising windfall remains on the 1st screen of the TV

On the other hand, this socialization is not without value since it contributes in part to the audience, it retains a core hard affinity that could be operated tomorrow thanks to more accurate targeting social tools for an example. Finally, it consolidates the audience of television itself. Without the interaction of the public, where would be the public of musical shows?

9 Director of Future Media at France Télévision

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The commitment through the management of the ViewerMost viewers are watching TV to be entertained and relaxed. Not to seek information or education. They may have the feeling to do so but it is just an alibi to justify that they will relax and forget.

Through the previous different studies, there are several overlap:

The use of the second screen becomes a standard Viewers who is proposed the interaction are receptive to the proposal and the audience increases The attention paid to the second screen is important, particularly during advertising breaks. This

attention isn't yet paradoxically too punitive for the registration of commercial messages The audience covered by broadcasters is rather young, much younger than the people who

currently watch television.

Thus, social interaction around the television is essentially done by a young audience through social networks, primarily twitter and this commitment brings emissions that are well prepared for this audience.

However, it will be noted that the average age of viewers is more around the 40/50 years, except for Gulli (a children chanel), and that this population is not on twitter.

Can we consider the revolution of television without them? It is unlikely.

Why social TV is a dead endWe understand perfectly that managers of broadcast channels want to rejuvenate their audience and that if the youth like social interaction, it is the offer.

However, it is in the end a great deal of effort, time and money spend for a difficult population and ultimately quite bit fair.

Furthermore, even if the audience is boosted by the social aspect and advertising is sold at the audience, enough quickly advertisers will implement report between the cost which will have increased and their effectiveness which will... probably not increased in the same proportions.

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Why? It is very simple. Social interaction is time consuming. It takes time to read the messages and follow conversations, and where a show is a success and it reached hundreds of tweets per second (the scores of ‘The Voice’ and other typed ‘social TV’ success programs are of this kind) there is always a lot of catching up to do, preferably at a time where there is more much to comment on the advertising break is very appropriate.

Attention is then diverted from the main screen for the benefit of the second screen, to such a point, it is true, viewers no longer change the channel, but they are no longer watching TV.

However, proof to the contrary, business model of TV channels is still largely based on this advertising.

In the end, we can say that more social audience increases, less attention to the advertising is important.

The race for the number of tweets is a race towards the abyss.

Advertising on the second screenThe obvious solution seems to be to offer advertising on the second screen.

To not devalue the premium advertising, the ideal is to propose a joint advertising, maybe the same or simply related.

Indeed, it is not possible to propose competing ads on media under penalty of losing advertisers. And it is also important not to encroach on the time of the following ads for does not the cannibalized, and this for the same reasons.

Therefore, propose a promotional accompaniment synchronized with the premium ads for that attention to the second screen is not lost.

The problem now is to propose these secondary ads to the viewer and it finds an interest in watching them rather than forgotten messages or chats with his friends, or even be completely elsewhere as read his emails.

Nothing prevents indeed to use the twitter or facebook native applications rather than a specific show application if it simply wants to interact socially.

An accompaniment on the durationTo achieve this grip management, it is important to offer the viewer an accompaniment on the duration of the show, and that this accompaniment is linear. That should propose an activity that will be of interest to him, allow him to exchange, and at the time of the advertising break, continue to focus on what is happening on the screen.

Attention should not be focused only on one or the other screens, but both alternately. The activity must therefore focus on what is happening on the TV screen in call to what is proposed on the second screen.

Determine its purpose and its targetThe objectives advanced by the broadcasters when they implement a second screen application are the following

Boost their image by offering something new Increase the audience of the show Rejuvenate the audience Revitalize the advertising market

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The objective of profitability for the second screen offer is not yet the most put forward (set apart for M6, which is no longer in the experiment) but it is in line of sight.

The target is for the moment the youth because it is the audience that is present on social networks and therefore corresponds to the proposal around the Social TV program.

But the aim must be the whole of the population; viewers who really spend time watching TV, those who look at shows, all kind of shows. Those already using the second screen, essentially tablets.

68% of iPad users are men living to nearly 60% in towns, rather managers and other high level functions, and between 35-49 years age10.

This tablet is used in 92% of cases at home.

This target which represents the largest number of viewers, the faithful and those who consume, should be a priority objective. And they are not sensitive to the social TV offerings, not being the most represented on social networks.

Producers should therefore provide an activity that suits them, not only to keep up with demand of a handful of early-adopters. An activity of interest, get closer to young people who already use technology appropriate and adaptable to programs they look already.

This activity must be easy to understand and to comprehend; it must be inclusive and trans-generational. It must above all maintain the viewer in his comfort zone.

10 http://www.mediametrie.fr/webmail/download/Mediametrie_PanelTablettes_ConferenceGESTE290312.pdf

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The solutions proposed by gamific.tvTo meet all these needs, we create games that accompany the viewer in its consumption of entertainment.

These games are based on simple exchanges, type picks, votes or quiz for example, and are likely to be adapted on any type of show.

The viewer can play alone or as a team, with teammates against the rest of the world or only against opponents that he knows and the game can be on a show or a series.

Our technology allows to individually addressing each screen, television or the second screen. Thus, we can post on both displays in a personalized way and therefore encourage the Viewer to move from one screen to the next.

He uses the second screen for all personal information, and interacts, respond to questions or indicate his choice, and on the screen of television11, he can view the status of the game and the performance of his friends, partners or opponents.

All views are customizable depending on the resignation and the choice of the producer.

The games are designed to be addictive but not time-consuming. Interventions are programmed at a pace set by the show and the production and interventions are very simple and fast. They should not distract attention more than necessary from the show.

At the advertising breaks, the use of the second screen is always topical, since we offer viewers to validating an interest that they could find to a particular message.

This interest can be worn on the message in general or on a variation on the second screen. This declination can be operated using the personal information of the player, who is known because he is logged in, or his location.

For example, it can offer a local contact to try a product, or make him win reductions for any good at the nearest distributor from his home.

The diagram below summarizes the entire solution.

11 The TV must be compatible with the standard HbbTV and be connected to this.

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Viewer is identifiedGame

connexion

His attention is regularly soughtInteractions

He doesn't leave the game or the chanel during the breakIt is known, we may send personalized messagesInteractions are very sumple

Ads managemen

t

The game is restarted regularly and viewer scoresReccurence

Viewer plays with friends and it spices competitionGifts can reward his diligence

Competition

24

White paper – The commitment of the viewer

Documents

premium rate sms

social tv isn

social tv

watching tv

social aspect

connected tv

business model

factual socializers