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Let’s Touch Base On Media Consumption: Review Of The Latest Touchpoints Data

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Touchpoints was launched by the IPA in 2005, with its primary function being to provide the media world with more cross-platform and cross-data media planning data sets.

Respondents are asked to keep a diary detailing their media habits, and also complete an online questionnaire detailing their attitudes, shopping and media habits.

As a result Touchpoints allows advertisers to map the media landscape much like a GPS – and reveals the opportunities that can arise from the integration of different media channels in campaigns.

The IPA and Facebook have now undertaken a joint venture to investigate how the media landscape looks today.

Fourteen years after the first survey, this research has revealed that there is now no single media channel that will allow advertisers to reach 90% of GB adults in a week, further highlighting today’s fragmented media landscape – and illustrating the importance of combined planning tools such as Touchpoints.

Commercial TV continues to reign as the largest channel when it comes to reach and time spent with the medium. This is followed by social media and the internet; unchanged from the last research conducted by the IPA in 2015.

However, we see interesting results when we look at these channels more closely. The amount of time spent on social media has gained six percentage points since 2015 (now at 24%) while commercial TV lost six points in the other direction (now 34%).

As media consumption shifts, brands should consider accessing a greater range of channels in their mix in order to reach their target audience.

Advertisers that have historically focused on a single channel – such as those heavily reliant on TV – are increasingly having to revaluate their media plans in order to make for more impactful campaigns.

It is often said that just one spot in Coronation Street in 1970 will have reached 30 million people. Nowadays, short-term campaigns looking to drive sales, or launch campaigns hoping to provide immediate impact, may no longer find it sufficient to utilise singular channels which in the past had been chosen for their ability to reach a huge proportion of a target audience with just one spot, or with a short burst of activity.

For now TV remains the largest media channel for all adult reach, but the generational shifts we’re already seeing may reveal what the future holds.

According to the earliest Touchpoints data, TV viewing habits of 15-34-year olds and the 55+ age group were not dramatically different. However in the last four years we have seen more and more young people favour subscription VOD (SVOD). Now only 77% of 15-34-year olds watch live TV each week, a significant decline from the 82% reported in 2015.

Ultimately, shifting media consumption adds another layer of complexity to media planning. Advertisers will need to consider a wider channel mix, but also be more creative in their approach, if they hope to reach a broad audience in their campaign. Tools such as Touchpoints more useful now than ever before.

Grab The Popcorn: Why Cinema Is The Second-Fastest Growing Channel

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Cinema has been revealed as the second fastest-growing medium this year, according to WARC’s latest Global Ad Trends report released this month.

While the internet remains the fastest growing channel, the global cinema market has grown 6.8% year-on-year; as a result, it is now worth a total of $4.6 billion.

The report follows DCM’s record-breaking first half of the year; the company, which controls 82% of the UK’s cinema industry, recently reported a 12% increase in ad spend compared to the same period in 2018.

The growth of cinema is in part due to the quality of content being released. 2019 has so far seen a strong slate of films, with blockbuster Avengers: Endgame grossing £89m at the UK box office, followed by several big-budget Disney re-makes including The Lion King and Aladdin, as well as franchise film Spider-Man and the recent return of Tarantino with Once Upon a Time in Hollywood.

Advertisers are being attracted to the medium because it provides a captive audience – something that is becoming increasingly difficult to find elsewhere.

As “second-screening” becomes the default viewing behaviour for most forms of video, cinema provides a much sought after high-attention environment, allowing advertisers to show quality content to these highly engaged viewers.

With some reports suggesting attention spans are becoming ever shorter, particularly among the younger generations, the level of immersion provided by cinema could become even more pertinent.

In fact, cinema is a particularly key channel for accessing those hard-to-reach younger audiences. Indeed, research released by DCM, alongside Differentology towards the end of last year found that cinema was the medium the 16-34 audience felt most positively about.

For this reason DCM CEO Karen Stacey has this month described cinema as being “complementary” to TV because of its ability to “plug the gap” left by the declining viewership of TV by these audiences.

While it has previously been largely the remit of launch campaigns or bigger-budget marketing activity, brands are increasingly beginning to understand the role cinema can play in any form of brand-building activity – as well as short-term activations, or even targeted, location-based campaigns.

In an increasingly fragmented video landscape, cinema should be considered not as a special feature, but as part of an integrated video strategy. And with huge franchise films including the likes of Star Wars: The Rise of Skywalker and Frozen II still to come this year, cinema may be about to steal the show.