Human digital location placement value
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Transcript of Human digital location placement value
INTRODUCTION
THE RELENTLESS PACE OF CHANGE
CONTENT VISIBILITY: TIP OF THE ICEBERG
500x bigger than the surface web
& unreadable by machines
CLIENTS
0%
10%
20%
30%
40%
50%
60%
THE SOCIAL TOURIST
DURING HOLIDAY AFTER HOLIDAY Sh
are
Blo
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“We stayed here partly because it was the filming location for the police station in the second season of Swedish Wallander films”
“The Blue Door from Notting Hill and a very excited Emma !”
“Photos I took from the Harry Potter Studio Tour in London”
“There are a good few Sherlock locations in London, so I put together a walk taking in some of the major filming spots”
-ontheluce.com (Blog)
QUANTIFYING LOCATION PLACEMENT VALUE
RESEARCH STATISTICS
LONDON PRODUCTIONS Harry Potter, 2001-11 Sherlock, 2010-present Notting Hill, 1999
APULIA PRODUCTIONS Mine vaganti (Loose Cannons), 2010 Braccialetti rossi (The Red Band Society), 2014 Che bella giornata (What a Beautiful Day), 2011
YSTAD PRODUCTIONS Wallander (both versions, excluding books), 2005-present Kyss mig (Kiss Me), 2011 Maria Larssons eviga ögonblick (Everlasting Moments), 2008
MALTA PRODUCTIONS Gladiator (2000) Game of Thrones (2011) Popeye (1980)
RESEARCH STATISTICS
TOTAL REACH (APPROX)
QUANTITY OF CONTENT
(SAMPLE SIZE)
CHANNELS ANALYSED
2,200,000
1,617 238
CHANNELS ANALYSED (EXAMPLES)
NUMBER OF SOCIAL PLATFORMS 12
LOCATION PLACEMENT VALUE
PERCENTAGE OF LOCATION MENTIONS
ONLINE
MINIMUM VIEWERS OFFLINE
DUNBAR’S NUMBER MEANINGFUL EXPOSURE
MINIMUM ADVERTISING COST
EXPOSURE VALUE
TIME SINCE RELEASE ANNUAL EXPOSURE VALUE
TODAYS PRODUCTIONS…
NOTTING HILL GAME OF THRONES
SHERLOCK
NOTTING HILL
NOTTING HILL
VALUE OF LOCATION CONVERSATION (ANNUAL) €24.9m
23% Location mentions cited some kind of positive desire to visit
63% Conversation topics concerned cityscapes
Location sentiment was almost entirely positive (Except for the odd complaint from locals)
77% 23%
25-35 YEARS OLD
PRODUCTION
55%
REASON FOR VISIT SATISFACTION
NOTTING HILL
AUDIENCE KNOWLEDGE IS STRONG The audience not only knows that this is set in London, but also clearly identifies the Notting Hill location as a specific area of London.
VISIT BECAUSE OF THE FILM Whilst they may subsequently visit London for other reasons as well (around 70%), their visit to Notting Hill specifically, is strongly inspired by the film (just over half of the audience who had visited London then visited Notting Hill as well).
LESSONS FROM SHERLOCK
LESSONS FROM SHERLOCK
SHRINING The idea that a scene or an artefact from a film or a television production becomes a tribute to that production.
GAME OF THRONES
GAME OF THRONES
68% of Fans knew it was filmed in Malta
32%
Malta Mentions in general Locations referred to included Medina (17%), Azure Window (9%) and both Valetta and Dwejra (4%)
Many tourists had visited Malta BEFORE they knew it was a filming location 40% 60%
25-35 YEARS OLD
PRODUCTION
15%
REASON FOR VISIT SATISFACTION
VALUE OF LOCATION CONVERSATION (ANNUAL) €1.3m
AUDIENCE LOCATION AWARENESS
LESSONS FROM GAME OF THRONES
BEAUTIFUL LANDSCAPES Lots of rich content, beautiful landscapes are often pictured, as are distinctive buildings. Locations that are particularly significant within the context of the production, such as little finger’s brothel, are also popular.
LESSONS FROM GAME OF THRONES
LOCATION AWARENESS The production attracted significant commentary, but many people didn’t know that the film was filmed in Malta until after visiting/after having left Malta.
“I was there back in October last year and never even knew they filmed it in Malta. Damn it.”
“I knew some parts were filmed in Malta, but had no idea I walked right pass some of them!”
TOTALS
LOCATION PLACEMENT VALUES
LONDON PRODUCTIONS LPV YSTAD PRODUCTIONS LPV
HARRY POTTER (2001-2011) €13.3M KYSS MIG (2011) €40,900
NOTTING HILL (1999) €24.9M MARIA LARSSONS EVIGA ÖGONBLICK (2008)
€260,800
SHERLOCK (2010-present) €13.7M WALLANDER (2005-Present) €22.8M
APULIA PRODUCTIONS LPV MALTA PRODUCTIONS LPV
BRACCIALETTI ROSSI (2014) €8.8M GAME OF THRONES (2011-present) €1.3M
CHE BELLA GIORNATA (2011) €1.1M GLADIATOR (2000) €1.1M
MINE VAGANTI €1.7M POPEYE (1980) €12.2M
CONCLUSIONS
Key Conclusions
1. SOCIAL WEB RESEARCH IS APPROPRIATE
Demonstrates the successful application of a social media-based methodology to the measurement of LPV in 12 unique
productions across multiple languages (including one series of films).
Key Conclusions
2. PRODUCTION SETTING IS RELATED TO EXPOSURE
Exposes the link between a production’s setting and subsequent location-based exposure and/or documented visits to a location. To what degree depends on the specificities of the production and the nature of the featured location (fictional,
recognisable, etc.).
Key Conclusions
3. TELEVISION AND FILMS BOTH PERFORM WELL
Shows that television series’ perform as well as feature films in their LPV – and often perform even better if the location is both contemporary or easily recognisable.
RECOMMENDATIONS
Tracking, Expansion & Data Blending
1. TRACK OVER TIME
Consider a ‘tracking’ programme to investigate how LPV may change over time (e.g. before, during, and after production releases) and adjust the scope of the research’s
timeframe accordingly.
Tracking, Expansion & Data Blending
2. LANGUAGE SUPPORT
Increase language support for productions that are only known within their country of
origin or are exported into markets with a different language.
Tracking, Expansion & Data Blending
3. DATA BLENDING
Consider integrating GDP and tourist value statistics if working in partnership with tourism agencies (e.g. place a value on the conversation/visitor origin to increase
granularity of the digital landscape’s value).
Tracking, Expansion & Data Blending
4. MEASURE COUNTRY LEVEL & FANTASY LOCATIONS
Structure and rank ‘location awareness’ for country as well as region. Also, consider incorporating and ranking fictional locations as well.
DATA VISUALISATION & ACCESS: DASHBOARD
http://dash.human-digital.com/euroscreen