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Linear TV through YouTube: the millennials are back!

Lately, there is an increasing debate about the future of linear television. But is there a growing number of viewers choosing to exchange old fashioned linear television for VOD services as Netflix and YouTube as often claimed? And is linear TV perceived as old-fashioned by millennials?

Nielsen research (2016) revealed that only 11% of the viewers in Europe pay for broadcasts or VOD services. And in countries like The Netherlands and The United Kingdom paid VOD services are only used at an average of 15 minutes a day. Still the Dutch viewers watch at an average of 183 minutes (2016) linear TV per day. The British even watch more TV: at an average of 240 minutes per day. So the share of paid VOD viewing compared to linear TV viewing is limited. Television is still a mass medium.

That’s why vloggers go multiscreen. The Dutch online Katwalk format – about fashion, beauty and entertainment – was first distributed on Dutch RTL Multi Channel Network in 2016 and later on was launched at one of RTL’s commercial TV channels (RTL5). But not only local players are attracted to linear TV distribution. Also international players like to distribute their video content via linear TV. This year (2017) Facebook announced to distribute video content in an app at cable’s set top boxes, and video platform Vice already offers linear programming at the American and Dutch cable systems.

However, also a reverse trend is observable. A growing number of traditional TV channels are distributing their content through online platforms. Earlier this year CBS announced to offer television subscriptions in co-operation with Google. Comparable deals are planned with the FOX sports FX and National Geographic Channel. Also YouTube announced the launch of YouTube Unplugged, a service which will distribute several traditional American networks like CBS, ABC and ESPN. This could also be a new opportunity for Dutch networks to appeal to a younger audience. But the networks have chosen to distribute their channels through their own catch-up online platforms.

The online distribution of the Dutch channels through international platforms could interest millennials in linear viewing. Certainly, because many new online TV channels are distributing premium (linear) content. A video platform as Crackle offers high quality programmes as Comedian in cars getting coffee and action series like Cleaners (about a professional trained team of hit men). AOL originals even created a talk show format – Parkbench – in which Steve Buscemi follows various famous friends in New York. The show won (2016) an Emmy award for best short-form variety series on Sunday.

It is striking that even online channels exist, which are linear watched. Channels like Twitch (gaming) and the channel Spongebob are examples of this.

It has been a recurring theme among media experts that millennials have rejected linear TV. Probably this is due to the old-fashioned image of the traditional way of viewing (terrestrial and cable TV) and especially when one takes into account the rise of all types of linear online channels. So, European broadcasters in general and Dutch broadcasters in particular should think about distributing their linear channels through YouTube. Distributing channels through YouTube could imply that millennials massively will watch ‘linear TV’, but only online.

Charles Vaneker

Senior Research and Media consultant

How to optimise the content of a branded YouTube channel?

Today we launch our new website (www.klappercom.nl) and our new research tool ReelRater™. The tool is developed in co-operation with technology provider ActiveReaction. The tool measures the moment-to-moment likeability of YouTube videos, TV commercials and programmes, radio programmes, promos and trailers. ReelRater™ is not an app, but it runs in any standard browser. Placing a link on your website or social media platform is sufficient to enable communities or access panels to rate your content. In this blog we like to show you how the tool can be used to optimise a branded YouTube channel.

Business case

We use a recent study to illustrate this: a YouTube channel of a premium Dutch brand. The channel predominantly distributes ‘how- to’ videos and instructional videos, of which two video formats are examined. The aim of this study was to assess the likeability of a ‘how-to’ video (duration 4:20 min.) and an instructional video (duration 3:30 min.). In addition, we aimed to assess the willingness of viewers to like the videos, comment on the videos (engagement) and subscribe to the channel (action). The sample consisted of high educated youngsters group aged 18-30, who used the ReelRater™ tool to rate the videos moment-to-moment (quantitative response) with their smartphone, tablet or laptop. Each individual viewer was asked to explain his/her highest and lowest scores (qualitative response) by means of open questions. Finally the viewers filled out a questionnaire.

Likeability of the videos

The graphs below show the moment-to-moment (MTM) likeability responses to the examined videos. The videos are rated by two different groups. The horizontal axis represents the elapsed time and the vertical axis represents the average likeability measured on a 10-100 scale.

The MTM scores of the instructional video (left) shows a rather zigzagged pattern. The scores decline in the first 40 seconds, indicating a high probability of viewers leaving the video and stop viewing. The decline is followed by a gradually rise in scores unto the second minute, where after the scores drop again. The main reasons why certain parts of the video score relatively low, is the mismatch between information supply and demand. Most of the information is already known and is rather obvious. Moreover, the cutting rhythm of the video is perceived as too slow.

The MTM scores of the ‘how-to’ video also fluctuate. The first 32 seconds of the video show a decline in scores, followed by a? rise. Scores between 0:56 minute and 1:20 minute again fluctuate, but rise from the 1:24 minute. The viewers were also asked to explain the low rated parts of the video. Viewers again ascertain a mismatch between viewers’ knowledge and informational content of the video. As with the instructional video the viewers’ point out that the cutting rhythm is too slow. Furthermore the voice-over doesn’t appeal the viewers.

Engagement and action

A frequent used method of determining the engagement of your audience with video is to look at how many times the video is liked or commented. Behavior is frequently measured by the number of people subscribing to a branded channel (see image below). For this reason we asked the viewers about their engagement and intention to subscribe to the channel.

It is striking that the intention to become a subscriber to the YouTube channel does not differ between viewers who see the instructional video and viewer who see the ‘how-to’ video. But viewers who see the ‘how-to’ video are more likely to comment upon the video than viewers who see the instructional video. There is only a small difference between the two groups of viewers when it comes to liking the video.

Conclusions

How can one optimise the videos (‘how-to’ video and the instructional video) based on the findings of this research?
First, the relevance of the content across the videos could be improved by providing more in-depth information. The intros of the videos can be mounted more exciting and faster. The viewer must indeed be tempted to watch out the entire video.
Second, the order in which the information is presented on the basis of the viewer’s evaluation of the various sequences can be improved. And also the cutting rhythm with which the information is presented, could be increased too. Finally adjustments can be made on the recording of the voice-over to make it more smooth, clear and enjoyable. The improvements of the videos will optimise the YouTube channel and will probably increase the video interaction.

If you have any questions or remarks, please click the comment button beneath this blog.

Charles Vaneker
Klapper Communications
Senior Media & Research Consultant
Twitter: CharlesVaneker