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FAN OUT: Netflix Digital Strategy


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My Final Assignment for Skillshare Course - Crash Course in Digital Strategy. Tutor: Julian Cole.

FAN OUT: Netflix Digital Strategy

  1. 1. ASSIGNMENT FOR Skillshare Course:Crash Course in Digital StrategyTutor: @juliancole FAN OUT EXPANDING THE VIEWERSHIP DIGITAL RATEGY BY PATRICK MEEHAN @ideas4pleasure
  2. 2. 2“ etflix subscribers don’t just N sign up for original content or specific shows, but for the overall experience...” – Reed Hastings Netflix CEO© PATRICK MEEHAN 2013
  3. 3. CLIENT BRIEF 3 THE MISSION To create a unique digital strategy for Netflix promoting the release of ‘Hemlock Grove.’© PATRICK MEEHAN 2013
  4. 4. BUSINESS OBJECTIVE 4 THE Goal Increase brand awareness / brand lift of Netflix amongst horror fans through the unique experience of Hemlock Grove by 5% by June 2013.© PATRICK MEEHAN 2013
  5. 5. TITLE 5 Let’s Get A Feel For The Landscape.© PATRICK MEEHAN 2013
  6. 6. DEFINE: BRAND 6 Service Product© PATRICK MEEHAN 2013
  7. 7. BLAH BLAHINSIGHTS 7Netflix Consumer Profile:Gender: M/F relatively equal (56% F) BLAHAge: ~50% of audience between 25-44Children: relatively equal (56% w/o kids)Household $$: affluent. 57% earn $100k+, 84% earn $50k+Education: College grads+ (59%), no college still relevant (41%) BLAH BLAHRace: overwhelmingly white (78%)Data shows consumer’s who binge-view once, binge-view again.Peak viewing on weekends. Drop off by Wednesday. BLAH© PATRICK MEEHAN 2013
  8. 8. BLAH BLAHDISCOVER: INSGHTS 8Horror Consumer Profile:Gender: Male dominant. BLAHAge: 18 - 24 are the largest target amongst male group.Behavioural: High susceptibility to excitation transfer process.Behavioural: xperience both negative and positive E emotions simultaneously. BLAH BLAHPhysiological: ig difference between people that watch/ like B horror movies and people that do not.Psychological: Horror elicit’s strong emotional reactions.Psychological: he appeal of horror depends on T BLAH characteristics of the viewer, the film, and the viewing circumstances.© PATRICK MEEHAN 2013
  9. 9. BLAH BLAHDISCOVER: INSGHTS 9Consumer Behaviour: We are x3 more likely to have ourviewing habits shaped by social media. (AU) BLAHConsumer Behaviour: 59% of people use online video’s tohelp inform them of consumer choices. (AU). BLAH BLAHConsumer Behaviour: 33% discuss a programme whilstwatching an actual programme (AU)Consumer Behaviour: People like watching whole seasons rather BLAHthan small parts of TV shows. (Don’t like waiting.)© PATRICK MEEHAN 2013
  10. 10. BLAH BLAHDISCOVER: INSGHTS 10Consumer Curated Content: format is not driven by traditionalprogramming constraints. Not driven by advertising. BLAHConsumer Centric Content: Results in creative and varyinglengths of content. No ads etc etc. Does not adhere to standard22 or 44min practice on free to air. BLAH BLAHConsumer Centric Content: “It’s television on my terms.”Consumer Centric Content: Enjoy the connectedness with the BLAHshow or movie and the nuances of the storyline, the characters,an the obvious convienence of ‘Viewing On Demand.’© PATRICK MEEHAN 2013
  11. 11. BLAH BLAHDISCOVER: INSGHTS 11Quality Competitive advantage: credible and assured content BLAHdeals. (Expansive range. Better quality resolution viewing.)Quality Competitive advantage: Riding benefits from internetinfrastructure (Who doesn’t want faster internet.) BLAH BLAHQuality Competitive advantage: Charges at a reasonable andcompetitive rate compared to that of cable or pay TV.($8 p/month vs $70 p/month + programming constraints.) BLAH© PATRICK MEEHAN 2013
  12. 12. BLAH BLAHDISCOVER: INSGHTS 12Quality Competitive advantage: As a result of pricing it will have BLAHa positive elastic income demand on market since its forecast toincrease consumption by 95% of the next 10years.Q uality Competitive advantage: because its investing in BLAH BLAHfunding and producing content as well and since it hasguaranteed revenue model. This is a long term investmentin the entertainment industry. (Hemlock Grove.) BLAH© PATRICK MEEHAN 2013
  13. 13. BLAH BLAHDISCOVER: INSGHTS 13Product Benefit: Previews to a movie are sometimes the bestpart. (Costly exercise of bad choice/ misleading ad.) BLAHProduct Benefit: Flexible, allows us to watch when and wherewe like rather than traditional settings (viewing on demand.) BLAH BLAHProduct Benefit: Data driven entertainment. They know whatwe watch, when we watch, where we stop watching, where werepeat a scene, where we reach for the fast-forward button,and most critically, when we break off and move on. BLAH© PATRICK MEEHAN 2013
  15. 15. DISTILL: CORE INSIGHTS 15 FOMO Now its no longer “how” you consume TV, but rather “how you control” your viewing. Its ‘consumer curated’ consumption. Never ever miss out again. love hurts Horror fan’s are “sensation-seeking” viewers. WORD OF MOUTH Basically its in our nature to rely on recommendations of peers and friends to give us information to help make decisions.© PATRICK MEEHAN 2013
  17. 17. DISTILL: CORE INSIGHTS 17 DATA BANK Data on the consumer consumption habits illustrates subscriber habits of viewing (when, what, IMPORTANT ISSUES Geographically its still predominately a North American and Canadian service. Given that it relies on the internet... it should be more global service. Biggest issue is hardly anyone knows of Hemlock Groves or its release.© PATRICK MEEHAN 2013
  18. 18. DISTILL: BEST QUESTION 18Is the market already over-saturated withsupernatural horror entertainment?© PATRICK MEEHAN 2013 ** IMAGE © HILLARY WHITE
  19. 19. DISTILL: BEST QUESTION 19 how are we going to do something useful useable and entertaining???© PATRICK MEEHAN 2013
  20. 20. DISCOVER 20By tapping into thepsychological affects,the physiological effects the behaviour thatdrives the obssessiontowards horror viewing.© PATRICK MEEHAN 2013
  22. 22. BRIEFING 22 Strategy: Show and Tell the excitment and the experiences of sensation viewing through Hemlock Grove. Insight: LOGO Horror is designed to elicit strong emotional reactions from viewers and it gives us an outlet to rationalize and face our biggest fears and taboo thoughts. Proposition: Face your Fears with Helmock Grove on Netlfix. Reason’s to Believe: We’re still sitting around the campfire telling stories. The fire’s become a movie screen and the darkness is still outside us, around our backs. The horror still goes to the heart of that situation, its a source of shared experience.© PATRICK MEEHAN 2013
  23. 23. IDEA: FOUNDATION 23 Once you start there is THERES NO TURNING BACK We’re going to play our cards to those voyeuristic tendencies and peverse pleasures of masochism. That condition of putting oneself through the titilations and excitements of frightening, threatening and truamatizing situations.© PATRICK MEEHAN 2013
  24. 24. THE BIG IDEA 24 (Yes, I know its an oxymoron!) ...© PATRICK MEEHAN 2013 IMAGE © GLUE SOCIETY REVOLVER FILMS
  25. 25. THE BIG IDEA 25 Because horror fans ‘love’ their horror and all the unpleasantness that goes along with it. So what’s the worse thing that could happen to a horror fan???© PATRICK MEEHAN 2013
  26. 26. THE BIG IDEA 26 Someone F@$#! with the things you love. annoying! frustrating UNPLEASANT© PATRICK MEEHAN 2013
  27. 27. THE BIG IDEA: EXPLANATION 27 We’ll create a interactive campaign driven by the possibilities and ‘emotional contagion’ effects from being terrorized and horrified but also enjoying them too.© PATRICK MEEHAN 2013
  28. 28. 28 Its intriguing. It’s engaging, And it’s peverse pleasure at it’s best.© PATRICK MEEHAN 2013
  29. 29. THE BIG IDEA: HOW IT WORKS 291. Suspense: Short, sharp messaging. Excitement emotional connection through tactically placed viral messaging and short content. Build dramatic tension and momentum.2. Intrigue: More motivation – give them something; ‘The Deal’, to watch the show free for 13 hours + access to extra content.3.Terror: them the twist – The paying subscribers get the ability Tell to ‘toy’ with your viewing pleasure through a series of digital torture and scare tactics. Whilst paying subscribers get the new product the ‘Scaretime’ wristband.4.Horror: The Premiere – ‘Scaretime’ wristband for paying subscribers to that measures your physiological experience; heart rate, adrenalin spikes and feed you back the data.5.Obsession: isualized data to show you where and at what point you V were actually feeling; scared, excited, disgusted etc etc.© PATRICK MEEHAN 2013
  30. 30. THE BIG IDEA RECAP 30 So what we’re doing is giving the viewers what they want from a horror show; An interactive experience; – Something they can relatable too. – fresh form that is linked and relevant to A the journey and genre of the show. – journey they can contribute too A and engage. – ccess to more than just a show.... A Interesting content/ experience. – omething that goes to the core of why S you watch horror (understanding.)© PATRICK MEEHAN 2013
  32. 32. COMMUNICATION FRAMEWORK 32 Intuative cross-channel marketing Less about ‘selling in’ a channel, but selling ‘through’ a channel.© PATRICK MEEHAN 2013
  33. 33. COMMUNICATION FRAMEWORK MODEL “I need a new horror show to watch.” 33 Face your fears. We know what you want. Do you? AWARENESS CONSIDERATION REACTION BUYING BUYING “This looks okay. Maybe.” “This looks crazy!” Indulge those tendencies We know exactly how you feel, BUYING BUYING would you like to see more? BEHAVIOR© PATRICK MEEHAN 2013 “It’s just another horror show. I’ll just torrent it” We’ll give it to you for free for 13 hours only.
  34. 34. COMMUNICATION FRAMEWORK MODEL 34 AWARENESS “It’s just another horror show” “Have you seen how crazy this looks” CONSIDERATION REACTION BUYING BUYING BUYING BUYING “I wonder if it’s any good?” “I love that feeling I get from watching horror” BEHAVIOR© PATRICK MEEHAN 2013
  35. 35. MEDIA DIGITAL ECOSYSTEM 35AwarenessWhy Twitter Vine:– Foundation short-form content application.– horter the message, the better the response S from your target audience.– Short-form video content app embedded in Twitter.– Introduce new content (micro preview)– Create short stories that address news or new content.– A glimpse of your full length content.– Eli Roth skills in short period (suspensful.)– No one is using it for horror atm...Pioneer of channel.© PATRICK MEEHAN 2013
  36. 36. MEDIA DIGITAL ECOSYSTEM 36AwarenessWhy Integrated Facebook:– Ability to connect directly to profile info for content.– To develop socially interactive experiences into the mix.– Mobile ready.Why Augmented Reality:– Bridge offline to online (digital streams)– Interactive doesn’t just mean online!!!– Trigger a ‘experiential’ TTL experience. Digital core.Why Web Banners:– We’re only using tactically placed banners to create awareness.– Position on underground culture and sympathetic sites.– Possibly trigger AR content or tunnel journey throught too...– Cause its trackable.© PATRICK MEEHAN 2013
  37. 37. MEDIA DIGITAL ECOSYSTEM 37BEHAVIORWhy Youtube:– Current habit for trailers.– High traffic content site.– HUGE reach.– Annotations and overlays for continuing journey.Why Spotify:– Free On-Demand-Listening service integrated to Twitter Fb– Music is another stimuli that parallels well with Video.– PR the showthrough access to soundtrack.Why Data Product:– Real time data gather.– Insightful; measures consumer experience directly.– Novel, useful and differeniating.© PATRICK MEEHAN 2013
  38. 38. MEDIA DIGITAL ECOSYSTEM 38 Vine Twitter Augmented Reality AR WEB Microsite Banners IntegratedIntegrated Mobile Mobile Microsite Microsite Youtube Spotify © PATRICK MEEHAN 2013 Dataveillance Product
  39. 39. KPIs 39 RETENTION +5% increase in subscriptions from the campaign in 4 months. PURCHASE 80,000 extra viewers at first drop Overall 23,000 extra subsribers throughout. PREFERENCE 20% increase in viewership of first two episodes 5.6% increase in average viewership through series. 2.5 % increase in current subscriber engagement CONSIDERATION 286,666 qualified visitors AWARENESS 5% Increase in brand awareness of platform 21,927,500 impressions from the tri-network of paid media 120,000 YouTube views.© PATRICK MEEHAN 2013
  40. 40. BUDGET 40 $1,480,000 Production = Data Product + Data Tracking = $500,000 $70,000AR / HTML5 Microsite = $50,000 Integrated Fb Mobile Micro = $50,000 Vine Twitter* = $30,000Rich media / Banners = YouTube Trueview = $30,000 $10,000 Spotify = (5% of Hemlock Grove Production cost) Total = US$2.25M© PATRICK MEEHAN 2013
  41. 41. TIMEFRAME 41 Pre-Release march 2013 Display. Anaylze. Track. Record. Share. Post-Release JUNE 2013© PATRICK MEEHAN 2013
  42. 42. NETFLIX DIGITAL STRATEGY 42 GOAL Increase brand STRATEGY Show Tell the experience awareness of Netflix and the excitment of sensation amongst horror fans viewing through hemlock grove. through the hemlock grove experience. KPI’S TACTICS +5% Increase in subscriptions from campaign. Spatial P2P conversation. Less linear.© PATRICK MEEHAN 2013
  43. 43. REFLECT 43 “IF YOU WANT SOMETHING YOU’VE NEVER HAD, YOU NEED TO DO SOMETHING YOU’VE NEVER DONE” Assignment for Skillshare Course: Crash course in Digital Strategy Tutor: @juliancole Assignment: Patrick Meehan @ideasforpleasure© PATRICK MEEHAN 2013