EuroScreen: Quantifying Location Placement Value - English Tourism to Europe

1. Quan%fying
Loca%on
Placement
Value
November
2014
Commissioned
by:

2. Contents
Project
Overview
Region
1
–
London
Region
2
–
Ystad
Region
3
–
Apulia
Findings
&
Appendix
Region
4
–
Malta
About
Human
Digital
&
Case
Studies

3. Project
Overview

4. Preface
This
exploratory
project,
commissioned
by
Film
London
and
Euroscreen,
seeks
to
quan?fy
Loca?on
Placement
Value
through
considering
the
total
minimum
chances
a
produc?ons’
loca?on
has
of
being
men?oned
both
online
and
offline
and
conver?ng
this
into
an
equivalent
adver?sing
value.
Part
of
this
process
u?lised
a
cuFng-­‐edge
methodology
which
analysed
a
social
media
dataset
of
tourist
generated,
loca?on-­‐based
commentary
(an
ini?al
dataset
of
30,480,732).
Social
media
data
provides
us
with
the
hard
evidence
necessary
to
understand
how
a
tourist
feels
towards
a
par?cular
loca?on
and
why,
whether
that
is
the
Blue
Door
in
London
(NoFng
Hill)
or
Ystad,
Sweden
(Wallander).
In
addi?on
natural
online
commentary
surrounding
a
loca?on
is
hugely
valuable
both
in
its
permanence,
and
is
infinitely
more
engaging
than
tradi?onal
adver?sing.
This
data-­‐set
brings
colour
to
the
claims
made
in
this
paper,
and
represents
a
brand-­‐new
methodology
to
evaluate
Loca?on
Placements.
Lastly,
it
can
be
used
to
complement
and
strengthen
other
forms
of
more
tradi?onal
research
in
this
area.
We
hope
you
enjoy
the
contents.
Daniela
Kirchner
COO,
Film
London
Sarah
Ward
CEO,
Human
Digital
Quan%fying
Loca%on
Placement
Value
4

5. Context

6. The
Relentless
Pace
of
Change
3,000,000,000
2,250,000,000
1,500,000,000
750,000,000
2,999,337,706
Global
Internet
Users
6

7. Prolifera%on
of
Social
Media
Data
During
Holiday
0%
10%
20%
30%
40%
50%
60%
DURING
HOLIDAY
AFTER
HOLIDAY
Text100
Survey
2012
4,600
respondents
across
13
markets
Engagement
con%nues
aYer
consumers
return
from
holiday
7

8. Tourism
Spend
vs.
Internet
Penetra%on
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
0
20
40
60
80
100
120
140
Nigeria
Indonesia
Mexico
India
South
Korea
Brazil
Japan
France
United
Kingdom
Russia
Germany
United
States
China
Internet
Penetra%on
(%
of
total
popula%on)
Tourism
Spend
($billion)
Tourism
spend
Internet
Penetra?on
Linear
(Internet
Penetra?on)
Strong
posi%ve
correla%on
A
posiJve
correlaJon
exists
between
Tourism
Spend
and
Internet
PenetraJon.
Generally
speaking,
countries
with
higher
internet
penetraJon
also
tend
to
have
higher
tourism
expenditure,
highlighJng
the
importance
of
uJlising
Online
to
understand
tourist
behaviour.
8

9. Objec%ves
Execu%ve
Summary
(I)
CONTEXT
AIM
EXECUTION
A
body
of
academic
research
suggests
film
and
TV
produc?ons
deliver
added
marke?ng
value
to
a
region
through
increased
exposure
and
the
“screen
tourism”
that
results
from
a
loca?on
being
featured
in
the
produc?on.
This
loca%on
exposure
represents
a
valuable
commercial
opportunity
to
the
tourism
sector.
① Quan?fy
the
addi?onal
(loca?on
adver?sing)
value
that
film
and
TV
produc?ons
can
deliver
through
‘loca?on
placement’,
beyond
the
primary
produc?on
spend.
② Provide
a
quan?ta?ve
methodology
to
assess
the
‘loca?on
placement’
value
of
the
produc?ons
secured
(feature
films
and
TV)
across
EuroScreen
regions
on
tourism
and
brand.
③ Assess
the
return
on
investment
and
media
value
(in
adver?sing
terms)
that
the
respec?ve
region
/
city
achieves
through
featuring
in
a
film
or
TV
produc?on.
① Develop
a
methodology
that
allows
regions
and
ci%es
to
quan%fy
the
‘loca%on
placement’
value
of
produc%ons
filming
in
the
des%na%on
beyond
the
primary
produc?on
spend
and
the
return
on
investment
/
media
value
generated.
② Test
the
methodology
developed
with
the
following
EuroScreen
regions
–
Ystad
(Sweden),
Apulia
(Italy),
London
(UK)
and
Malta.
9

10. Scope
Execu%ve
Summary
(II)
Apulia
Produc%ons:
① Mine
vagan?
(2010)
② BraccialeF
rossi
(2014)
③ Che
bella
giornata
(2011)
London
Produc%ons:
① Harry
Porer
(2001-­‐11)
② Sherlock
(2010)
③ NoFng
Hill
(1999)
Malta
Produc%ons:
① Gladiator
(2000)
② Game
of
Thrones
(2011)
③ Popeye
(1980)
Ystad
Produc%ons:
① Wallander
(both
versions,
excluding
books
–
2005)
② Kyss
mig
(2011)
③ Maria
Larssons
eviga
ögonblick
(2008)
10

11. Research
Sta%s%cs
Execu%ve
Summary
(III)
TOTAL
REACH
(APPROX)
ANALYSED
CONTENT
QUANTITY
OF
CONTENT
(SAMPLE
SIZE)
CHANNELS
ANALYSED
2,200,000
30,480,732
1,617
238
CHANNELS
ANALYSED:
EXAMPLES
NUMBER
OF
SOCIAL
PLATFORMS
12
11

12. Summary
of
Findings
Findings
Through
the
tech-­‐enabled
sampling
of
30,480,732
pieces
of
user
generated
content,
and
the
human-­‐led
analysis
of
around
1,617
individual
unique
sources
within
this
set,
this
research
executes
the
following
objecJves:
Demonstrates
the
applica?on
of
a
methodology
using
social
media
data
as
an
engagement
proxy
to
measure
‘loca?on
placement
value’
in
twelve
unique
produc?ons
across
mul?ple
languages
(including
one
series
of
films).
Shows
that
TV
series
can
perform
as
well
as
movie
produc?ons
in
their
loca?on
placement
value
–
and
oten
perform
even
berer
if
the
loca?on
is
easily
recognisable
Exposes
a
definite
link
between
a
produc?on’s
seFng
and
subsequent
loca?on-­‐based
exposure
and/or
documented
visits
to
a
loca?on.
To
what
degree
depends
on
the
specifici?es
of
the
produc?on
and
the
nature
of
the
featured
loca?on
(fic?onal,
recognisable,
etc.).
Provides
qualita?ve
insight
surrounding
each
individual
produc?on
that
may
be
used
to
improve
future
place-­‐based
marke?ng
efforts
and
improve
integra?on
or
partnership
between
the
screen
and
tourism
sectors.
1.
THE
POWER
OF
SOCIAL
3.
TV
CAN
PERFORM
AS
WELL
AS
FILMS
2.
LOCATIONS
RELATE
TO
EXPOSURE
4.
IMPROVE
PARTNERSHIPS
12

13. Quan%fying
the
value
as
adver%sing
Methodology
–
Calcula%ng
Loca%on
Placement
Value
PERCENTAGE
OF
LOCATION
MENTIONS
MINIMUM
VIEWERS
DUNBAR’S
NUMBER
MINIMUM
ADVERTISING
COST
Percentage
of
loca5on
men5ons
=
The
minimum
proporJon
of
producJon-­‐related
conversaJon
that
also
references
region-­‐specific
locaJons
(which
was
anywhere
between
0.01
and
20%
depending
on
the
producJon).
Minimum
viewers
=
The
least
amount
of
people
that
have
viewed
the
producJon
according
to
Euroscreen’s
figures,
other
sources,
and
adjustments
for
inflaJon
when
using
older
box
office
figures.
Dunbar’s
Number
=
The
most
meaningful
social
connecJons
someone
might
have
(this
is
generally
accepted
as
roughly
150),
rather
than
larger
social
media
‘follower’
or
‘friend’
figures.
Minimum
Adver5sing
Cost
=
The
least
value
that
would
be
spent
in
generaJng
equivalent
exposure,
using
the
present
cost
of
premium
online
adverJsing
(£0.025/€0.033
per
impression).
MEANINGFUL
EXPOSURE
ONLINE
OFFLINE
EXPOSURE
VALUE
13

14. By
taking
a
representa5ve
and
prac5cal
sample
of
loca5on-­‐based
commentary
we
are
able
to
gain
a
range
of
insights
into
the
audience
and
their
locaJon-­‐based
conversaJon.
These
un-­‐prompted
voices
can
offer
clues
as
to
how
recognisable
a
locaJon
is,
how
desirable
it
is,
and
what
type
of
person
it
might
appeal
to.
With
a
human-­‐led
approach
(rather
than
‘automated’
tools)
it
is
possible
to
examine
how
an
audience
feels
about
a
loca%on.
This
research
uses
a
scale
that
reveals
the
propor?ons
of
posi?ve,
nega?ve
and
unsen?mised
/factual
commentary
surrounding
a
produc?on’s
loca?ons.
Subject
to
the
availability
of
data,
it
may
also
be
possible
to
see
how
people
respond
to
a
loca?on
as
they
move
along
the
image
building
journey.
The
un-­‐prompted
voice
of
the
audience
Qualita%ve
Insights
The
post-­‐produc?on
effects
of
loca?on
placement
are
oten
assessed
in
terms
of
image
building
or
image
forma?on
(Croy,
2004
and
Vagionis,
2011).
By
evalua?ng
individual
sources
it
is
possible
to
place
a
member
of
the
audience
along
a
journey
of
loca%on
awareness
–
they
either
men%on
a
loca?on
in
general,
know
and
recognise
a
loca?on,
desire
to
visit
it,
intend
to
visit,
or
have
already
visited
it.
This
data
can
then
show
the
development
of
loca?on
placement
for
each
produc?on.
The
human-­‐led
approach
also
enables
the
research
to
go
beyond
the
limits
of
a
pre-­‐
defined
data
set
in
order
to
gather
extra
demographic
metrics
that
might
not
be
readily
available
in
ini?al
samples
of
data
from
sources
such
as
Twirer
or
Facebook.
For
example,
a
person
may
misrepresent
their
loca?on,
gender
or
age
in
a
manner
which
our
researchers
are
trained
to
recognise
and
report
within
our
analysis.
This
means
we
can
augment
the
ini?al
scrape
with
human-­‐verified
accuracy.
IMAGE
BUILDING
SENTIMENT
QUAL-­‐QUANT
DEMOGRAPHICS
14

15. 0%
20%
40%
60%
80%
100%
Men?on
Knowledge
Desire
Intent
Visit
AUDIENCE
LOCATION
AWARENESS
Very
Nega?ve
Nega?ve
Mixed
Posi?ve
Very
Posi?ve
Unsen?mised
OVERALL
SUMMARY
Top-­‐line
summary
detailing
(where
possible)
loca?on
awareness,
most
prominently
discussed
loca?ons,
other
topics
of
conversa?on,
and
other
notable
findings.
DEMOGRAPHIC
PROFILE
Summary
of
findings
surrounding
documented,
or
poten?al,
visits
to
loca?ons
by
produc?on
viewers
(depending
on
data
availability).
LPV
scorecard
format
for
each
produc%on
(example)
Scorecard
Format
QUANTIFIED
LPV
VALUE
€
XX
(average
yearly
figure)
Least
value
of
the
free
‘earned’
loca?on
exposure/conversa?on
in
adver?sing
terms.
The
image
building
journey…
(e.g.
25%
of
the
audience
displays
a
‘knowledge’
of
the
loca?on)
…and
sen?ment
towards
loca?on.
(e.g.
half
of
visitors
were
posi?ve
about
the
loca?on)
15

16. Region
1
–
London

17. Data
surrounding
produc?ons
featuring
London
was
abundant
and
much
of
this
loca?on-­‐based
commentary
was
very
rich
in
detail.
The
high
amount
of
documented
visits
provides
a
good
basis
for
insights
surrounding
loca?on
placement
value
and
audience
demographics,
but
was
considered
alongside
the
fact
that
London
is
also
a
major
tourist
des?na?on
in
general.
Data
Summary
London
“Myself
and
my
girlfriend
of
5
years
are
heading
to
London
soon,
and
we're
doing
the
whole
Harry
Poier
thing
(WB
Studio
Tour,
visit
the
various
locaJons
etc.).
Where
would
be
the
most
romanJc
place
to
propose
in
your
opinion?
We're
both
Poierheads
and
I
definitely
know
this
is
something
she'll
eat
up.
I
was
thinking
The
Great
Hall
on
the
WB
Studio
Tour?”
“Watching
movies
filmed
in
London
like
Nomng
Hill,
makes
me
miss
the
city
so
much
more.”
“There
are
a
good
few
Sherlock
locaJons
in
London,
so
I
put
together
walk
taking
in
some
of
the
major
filming
spots
–
click
on
the
map
at
the
boiom
for
full
direcJons
if
you
want
to
follow
it
yourself.”
–
ontheluce.com
(Blog)
“Photos
I
took
at
the
Harry
Poier
Studio
Tour
in
London,
contains
preiy
much
everything
for
those
who
cannot
make
it!
Totally!
I
travelled
from
Malta
just
to
head
there
and
have
no
regrets
:)
If
you're
a
big
Harry
Poier
fan
you'll
love
it,
if
you
just
watched
the
movies
and
are
not
really
that
interested
you
most
probably
sJll
will
because
it's
like
an
interacJve
museum.”
COMMENTARY
VOLUME
&
QUALITY
ILLUSTRATIVE
COMMENTARY
17

18. €13.3M
Produc%on
Overview
London
HARRY
POTTER
(2001-­‐2011)
NOTTING
HILL
(1999)
SHERLOCK
(2010-­‐Present)
€24.9M
€13.7M
LPV
GENDER
AGE
COUNTRIES
REASON
FOR
LOCATION
VISIT
65%
FEMALE
35%
MALE
77%
FEMALE
23%
MALE
70%
FEMALE
30%
MALE
16-­‐24
25-­‐35
16-­‐35
50%
UK
25%
US
25%
Other
31%
UK
12%
US
57%
Other
45%
UK
55%
Other
43%
PRODUCTION
38%
BY
CHANCE
19%
OTHER
55%
PRODUCTION
45%
OTHER
83%
PRODUCTION
17%
OTHER
PRODUCTION
18

19. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
① Harry
Porer
generated
a
large
volume
of
loca%on-­‐
aware
and
visitor
commentary.
② Common
topics
concerned
interior
sepngs
(39%),
cityscapes
(19%),
and
general
tourism
(17%).
③ Sen?ment
towards
loca?ons
was
split
between
posi%ve
and
factual
loca?on
commentary.
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Harry
Poqer
(Series
of
Films,
2001-­‐2011)
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
65%
FEMALE
/
35%
MALE
16-­‐24
YEARS
OLD
50%
UK
/
25%
USA
/
25%
OTHER
[32]
POSITIVE
43%
HARRY
POTTER
38%
BY
CHANCE
8%
UNRELATED
€13.3m
④ Prominently
discussed
London-­‐based
loca?ons:
Kings
Cross
(39%),
Harry
Poqer
studios
(13%),
the
Millenium
Bridge
(7%),
and
Leadenhall
Market
(4%)
⑤ However,
19%
of
commentators
men?oned
general
or
fic%onal
loca?ons
by
people
without
clearly
discernable
loca%on
knowledge.
Sample:
430
19

20. As
a
successful
movie
series,
Harry
Poqer
has
undoubtedly
raised
the
profile
of
London
and
also
brought
many
people
to
the
city
–
or
studios
in
Herzordshire
–
either
par%ally
or
primarily
because
of
the
produc?on.
The
Harry
Porer
audience
is
also
very
sociable
online
and
perfectly
demonstrates
the
manner
in
which
fans
recommend,
direct
and
promote
loca%ons
to
one
another
through
social
media.
Key
Insights
Harry
Poqer
(Movies,
2001-­‐2011)
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
“We
visited
the
King's
Cross
StaJon
on
our
trip
to
England
in
November
2005.
This
train
staJon
is
a
beauJful
historic
building
on
the
outside
with
very
modern
faciliJes
on
the
inside.
You
can
go
to
plaqorm
9
3/4,
located
within
the
staJon.
The
personnel
were
quite
happy
to
assist
us
with
direcJons.
The
plaqorm
is
set
up
with
a
shopping
cart
halfway
through
the
wall,
to
recreate
the
scene
in
a
Harry
Poier
Movie.
A
great
photo
opportunity
for
Harry
Poier
fans.
It's
easy
to
find,
and
the
inside
environment
is
very
friendly
and
comfortable.”
“Leadenhall
Market
was
used
to
represent
the
area
of
London
near
The
Leaky
Cauldron
and
Diagon
Alley
in
the
film
Harry
Poier
and
the
Philosopher's
Stone.”
“The
spiral
staircase
in
the
South-­‐West
tower
featured
in
Harry
Poier
and
the
Prisoner
of
Azkaban
(2004)
as
the
stairs
in
Hogwart's
where
Harry
finds
a
crystal
ball
and
returns
it
to
Prof.
Trelawney.”
“Where
harry
poier
was
filmed!!😀
#londonzoo
#harrypoiergeek
#repJlehouse”
20

21. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Nopng
Hill
(Movie,
1999)
AUDIENCE
LOCATION
AWARENESS
① NoFng
Hill
generated
a
huge
loca%on-­‐aware
discussion
and
a
strong
posi%ve
desire
to
visit
Nopng
Hill
(23%
of
loca?on
men?ons
also
cited
some
kind
of
posi?ve
desire
to
visit).
② Conversa?on
topics
concerned
cityscapes
(63%),
general
tourism
(21%)
or
nostalgia
(11%).
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
€24.9m
③ Sen?ment
towards
the
loca?on
was
almost
en?rely
posi?ve
except
for
the
odd
complaint
about
the
‘reality’
of
present
day
NoFng
Hill
from
those
who
knew
the
loca?on
well.
④ Nopng
Hill
(38%)
and
London
overall
(33%)
accounted
for
most
loca?on
men?ons.
Specific
loca?on
men?ons
included
Portobello
Road
(11%),
the
bookshop
(9%),
and
the
blue
door
(8%).
SATISFACTION
55%
Produc%on
45%
Other
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
REASON
FOR
VISIT
77%
FEMALE
/
23%
MALE
25-­‐35
YEARS
OLD
31%
UK
/
12%
USA
/
10%
Brazil
POSITIVE
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
Sample:
124
21

22. The
audience
not
only
knows
that
this
is
set
in
London,
but
also
clearly
iden%fies
the
NoFng
Hill
loca?on
as
a
specific
area
of
London.
Whilst
they
may
subsequently
visit
London
for
other
reasons
as
well
(around
70%),
their
visit
to
NoFng
Hill
specifically,
is
strongly
inspired
by
the
film
(just
over
half
of
the
audience
who
had
visited
London
then
visited
NoFng
Hill
as
well).
Key
Insights
Nopng
Hill
(Movie,
1999)
“Yay
Nomng
Hill
bookshop
from
the
movie!
London
in
24
days!”
“I
love
going
to
Nomng
Hill.
Of
course,
one
looks
for
the
blue
door
of
'Nomng
Hill'
fame
and
does
not
find
it.
Julia
Roberts
is
also
absent!
However,
the
street
is
an
interesJng
mix
of
older
shops
and
the
inevitable
supermarket.
Daunt's
Books
is
along
the
road,
Recipease
is
on
the
corner
and
there
is
a
cheerful
pub
with
good
meals.
Portobello
markets
are
fun
and
every
year
there
is
the
Nomng
Hill
Carnival...”
“I
loved
going
to
Nomng
Hill.
Nomng
Hill
really
became
famous
because
of
the
movie
starring
Hugh
Grant
and
Julia
Roberts.
It's
a
great
locaJon
in
London.
It
has
a
more
"home"
feel
than
the
rest
of
the
city.
Don't
forget
to
stop
by
the
bookshop
and
the
blue
door
apartment
that
were
featured
in
the
movie.”
“'The
Blue
Door'
from
Nomng
Hill
and
a
very
excited
Emma
😝
”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
22

23. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Sherlock
(TV
Series,
2010-­‐Present)
83%
Sherlock
17%
Other
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
70%
FEMALE
/
30%
MALE
16-­‐35
YEARS
OLD
45%
UK
/
55%
Other
(29)
POSITIVE
Sample:
320
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
€13.7m
① Whilst
Sherlock
generated
a
lot
of
unspecific
loca?on
men?ons,
most
of
the
audience
recognised
and
discussed
the
contemporary
London-­‐sepng.
② The
mostly
‘geeky’
and
fact-­‐based
commentary
concerned
27
specific
London-­‐based
loca?ons
including
Speedy’s
Café
(26%),
“221b
Baker
Street”
(25%),
St
Bart’s
(12%)
and
many
others
(1-­‐3%).
③ Most
commentary
concerned
the
city
seFng
(72%)
but
a
great
variety
of
small
discussions
concerned
other
factors
–
general
tourism,
interiors
and
other
arrac?ons;
especially
nostalgia
from
ex-­‐pats,
‘shrining’
loca%ons,
seeing
the
live
filming
or
cast,
‘pilgrimages’
and
‘cosplay’.
23

24. Fan
culture
around
a
produc?on
can
generate
significant
visitor
numbers
for
small
featured
loca?ons
–such
‘shrining’,
cosplay
and
other
ac?ve
fan
performances
might
then
feed
back
into
promo?ng
the
produc?on
to
others.
Audience
members
who
already
live
in
a
region
will
go
out
of
their
way
to
visit
loca?ons.
Therefore,
a
produc?on
that
uses
a
contemporary
seFng
with
‘real’
loca?ons
can
generate
a
very
significant
loca?on
placement
value.
Key
Insights
Sherlock
(TV
Series,
2010-­‐Present)
“..a
while
back
when
I
was
in
London,
my
friend
and
I
tracked
down
some
Sherlock
locaJons
and
I
took
printed
pictures
with
me
to
catch
the
exact
scene…”
“
…St.
Bart’s
Telephone
Box
Is
The
Most
Heartbreaking
Thing
Ever./
Took
me
a
while
to
find
it,
but
I
walked
around
a
corner
and
suddenly
found
myself
here:
People
sJll
leave
notes
in
the
phone
box
and
it’s
heartbreaking.
Here
are
a
couple
of
notes:/
We
need
season
3
now.
My
heart
can’t
deal
with
this…
”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
24

25. Overall
Summary
London
KEY
CONCLUSIONS
It
is
clear
that
many
visits
to
the
region
are
par%ally
or
fully
inspired
by
a
produc?on
featuring
London,
and
these
have
contributed
to
the
high
LPV
of
the
produc?ons
analysed
in
the
city.
Fan
culture
ac?vi?es
like
‘shrining’,
cosplay
and
urban
fan
art,
mean
that
loca?on
placement
value
feeds
back
into
promo?ng
the
produc?on
alongside
the
loca?on.
London
performs
berer
for
LPV
the
more
‘real’
and
recognizable
its
presenta?on.
e.g.
Harry
Poier
has
been
seen
by
far
more
people
than
Sherlock,
but
its
use
of
ficJonal
locaJons
means
that
London
gets
less
exposure.
In
the
best
cases
of
loca?on
placement,
it
can
be
hard
to
separate
an
audience’s
associa?on
between
a
produc?on
from
its
loca?on
–
in
this
respect,
London
is
integral
to
NoFng
Hill
and
now
perhaps
vice
versa.
1.
LONDON
HAS
HIGH
LPV
3.
CULT
FILMS
HAVE
HIGHER
LPV
2.
REALITY
TRUMPS
FANTASY
4.
PRODUCTION
ASSOCIATIONS
WITH
LOCATION
25

26. Region
2
–
Ystad

27. Data
Summary
Ystad
Overall,
there
was
ample
data
surrounding
the
Ystad
region
to
draw
insight
from
user-­‐generated
content,
but
it
varied
in
amount
and
richness.
Wallander
performed
excep%onally
well,
and
Maria
Larssons
eviga
ögonblick
viewers
also
provided
plenty
of
men%ons
for
Malmö.
However,
Kyss
Mig
suffered
from
few
regional
men%ons,
as
data
was
mostly
limited
to
statements
associated
with
Sweden.
COMMENTARY
VOLUME
&
QUALITY
ILLUSTRATIVE
COMMENTARY
“It
was
great
to
see
the
Amalteaman
Anton
Nilson
and
the
MeeJng
of
Three
Kings
on
Stortorget
in
Malmö
–
not
to
menJon
the
scenes
in
the
old
house
on
Hasselgatan
in
Malmö.
We
were
living
right
next
to
it
for
10
years
in
Björkgatan
in
Sofielund.”
–
hip://berJlius.wordpress.com
(Blog)
“I
am
Kurt
Wallander.”
27

28. Produc%on
Overview
Ystad
40,900
KYSS
MIG
(2011)
MARIA
LARSSONS
EVIGA
ÖGONBLICK
(2008)
WALLANDER
(2005-­‐Present)
260,800
22.8M
LPV
GENDER
AGE
COUNTRIES
REASON
FOR
LOCATION
VISIT
81%
FEMALE
19%
MALE
50%
FEMALE
50%
MALE
50%
FEMALE
50%
MALE
16-­‐60+
16-­‐60+
25-­‐60
27%
UK
20%
US
17%
SWE
70%
SWE
30%
Other
44%
UK
20%
US
36%
Other
FILM
PREMIERE
NOSTALGIA
NO
DOMINANT
REASON
NO
DOMINANT
REASON
PRODUCTION
28

29. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Kyss
mig
(Movie,
2011)
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
81%
FEMALE
/
19%
MALE
16-­‐60+
27%
UK
/
20%
US
/
17%
Swe
POSITIVE
FILM
PREMIERE
/
NOSTALGIA
① Kyss
mig
generated
some
loca?on-­‐based
commentary
but
scored
low
in
overall
value
due
to
a
lack
of
recogni%on
for
the
Ystad
or
Skåne
region
–
but
almost
everyone
did
recognise
it
as
a
story
set
in
contemporary
Sweden.
② The
only
nega?ve
comment
about
the
produc?on
misiden?fied
it
as
a
Norwegian
film.
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
€40,900
③ Discussion
surrounding
the
loca?on
was
oten
very
posi?ve
and
talked
about
the
‘beau%ful’
or
‘bucolic’
countryside
and
landscapes
(67%),
nostalgia
for
Sweden
(7%)
or
other
arrac?ons
including
the
Swedish
language
and
culture
(20%).
Sample:
49
29

30. “We
really
enjoyed
watching
this,
great
Swedish
country
side,
familiar
faces
(although
Ruth
isn't
as
glam
or
as
skinny
as
she
is
in
recent
Call
girl).
Found
it
very
moving,
real,
edge
of
seat,
will
they
wont
they,
brilliant...
and
then
the
ending
was
pure
Hollywood
rom
com
and
I
went
to
bed
in
a
terrible
mood.”
Key
Insights
Kyss
mig
(Movie,
2011)
Sen?ment
towards
the
produc?on
and
the
loca?on
was
overwhelmingly
posi%ve
(only
6%
of
comments
about
the
film
and
2%
of
the
loca?on
comments
were
in
any
way
nega?ve),
the
seFng
was
almost
always
recognised
as
Sweden
and
not
the
region
of
Ystad.
Therefore,
it
is
possible
that
the
film
did
not
contain
enough
regional
prompts
to
firmly
associate
the
beau?ful
seFng
with
Ystad
or
Skåne
–
and
at
worst,
was
thought
by
some
foreign
audiences
to
be
elsewhere.
“The
love
scenes
are
beauJfully
directed
with
both
passion
and
tenderness.
The
gorgeous
Swedish
countryside
is
a
perfect
semng
for
this
story,
which
illustrates
that
love,
can
be
lurking
in
unexpected
places.”
“…beauJful
people,
beauJful
scenery
and
beauJfully
shot…”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
30

31. LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Maria
Larssons
eviga
ögonblick
(Movie,
2008)
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
50%
FEMALE
/
50%
MALE
16-­‐60+
70%
SWE
/
30%
OTHER
POSITIVE
NO
DOMINANT
REASON
① Maria
Larssons
generated
some
loca?on-­‐based
commentary
and
many
viewers
recognised
Malmö
as
the
sepng
for
this
produc%on.
② The
only
loca?ons
that
were
specifically
iden?fied
were
either
Malmö
(54%)
or
Sweden
(46%).
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
€260,800
③ Conversa?on
topics
chiefly
concerned
cityscapes
(65%),
historical
interiors
and
sepngs
(18%)
or
strong
feelings
of
nostalgia
for
Sweden
and
Malmö,
mostly
in
the
past
but
occasionally
in
the
present.
Sample:
50
31

32. Key
Insights
Maria
Larssons
eviga
ögonblick
(Movie,
2008)
Maria
Larssons
eviga
ögonblick
was
almost
always
recognised
as
a
Swedish
produc%on,
and
oten
as
being
set
in
a
historical
period
of
Malmö.
However,
much
of
this
recogni%on
came
from
na%ve
audiences,
and
foreigners
tended
to
focus
their
awareness
on
Sweden.
Also,
as
it
is
a
historical
film
it
was
praised
for
its
period-­‐specific
props
and
seFngs.
There
are
far
less
‘real
life’
loca?ons
to
visit
and
so
it
was
harder
for
the
audience
to
desire
a
visit
to
any
loca?ons.
“While
the
words
were
in
Swedish,
I'm
sure
that
every
nuance
came
through
clearly.
We
were
taken
to
the
Malmo
of
a
hundred
years
ago,
when
even
a
simple
photograph
was
the
product
of
a
skilled
hand,
and
an
inspired
vision.
This
film,
simple
yet
true,
reflected
the
same
spirit.”
“Maria
Larssons
eviga
ögonblick
reminded
me
about
Troell’s
unusual
class
awareness
and
clarity
about
gender
issues.
I
was
inspired
by
the
film’s
theme
about
the
role
of
the
arJst
(photography
in
this
case).
I
was
taken
back
to
the
years
I
lived
in
Malmö,
where
most
of
the
film
takes
place,
with
the
city’s
history
of
the
workers’
movement
and
“barnrikehus”
(special
housing
for
working
class
families
with
many
children),
etc.”
–
pellehanaeus.se
(Blog)
“Filmen
utspelar
sig
under
början
av
1900-­‐
talets
Sverige
och
handlar
om
arbetarkvinnan
Marias
liv.
Hon
får
en
dag
en
kamera
och
börjar
ai
fotografera
allt
i
sin
omgivning.
Hennes
bilder
visar
ei
samhälle
i
förändring;
famgdom,
vardagsglädje
och
krigsutbroi.”Maria
Larssons
eviga
ögonblick”
filmades
i
Malmö
och
bl
a
bland
gatuhusen
på
Sofielund.
(Set
in
early
1900s
Sweden
involving
working
woman
Maria's
life.
Her
new
camera
shows
a
changing
society
from
poverty,
to
joy
and
the
outbreak
of
war.
"EverlasJng
Moments"
was
filmed
in
Malmö
and
among
street
houses
on
Sofielund.)”
–
idabloggen.wordpress.com
(Blog)
“The
semngs
and
the
story
give
a
good
insight
in
life
at
the
turn
of
last
century
in
a
small
town
in
Sweden
(Malmo).
Fine
photography
throughout
and
a
story
that
sweeps
you
up...”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
32

33. LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Wallander
(TV
Series,
2005-­‐Present)
① Wallander
generated
an
enormous
loca%on
placement
value.
Whilst
many
men?ons
did
not
recognise
Ystad
itself
(Sweden
was
not
included
here
as
‘knowledge’
awareness),
much
of
the
audience
knew
it
was
set
in
Ystad
and
some
had
also
visited.
② Cityscapes
(67%)
or
landscapes
(26%)
were
by
far
the
most
common
topics
of
conversa?on.
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
50%
FEMALE
/
50%
MALE
25-­‐60+
44%
UK
/
20%
US
/
11%
IRE
POSITIVE
NO
DOMINANT
REASON
€22.8m
③ Apart
from
Sweden
(31%),
specific
loca?on
men?ons
either
referred
to
Ystad
(52%),
the
police
sta%on
(6%)
or
the
Hotel
Con%nental
(3%).
④ The
only
nega?ve
loca?on
sen?ment
referred
to
the
gloomy
nature
of
the
seFng.
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
Sample:
144
33

34. Key
Insights
Wallander
(TV
Series,
2005-­‐Present)
Wallander
generated
a
large
amount
of
online
exposure
for
the
town
of
Ystad,
and
all
global
audiences
displayed
a
significant
loca%on
awareness
for
both
Sweden
and
Ystad
(especially
in
the
UK).
As
a
result
of
its
modern
and
recognisable
seFng
with
many
key
loca?ons
in
one
small
area,
it
also
generated
a
significant
desire
to
visit
the
town
and
this
was
ac?vely
documented
online.
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
“We
stayed
here
partly
because
it's
some
of
the
best
value
accommodaJon
in
Ystad
and
partly
because
it
was
the
filming
locaJon
for
the
police
staJon
in
the
second
season
of
Swedish
Wallander
films.
All
the
rooms
are
named
a}er
the
roles
they
played
in
Wallander
-­‐
we
stayed
in
the
Advokat's
room,
and
Wallander,
MarJnsson
and
Svartmann's
rooms
are
also
all
available.
[...]
It
goes
without
saying
that
it's
also
a
brilliant
place
for
Wallander
fans!
I
loved
it
here
and
can't
wait
to
visit
again!”
34

35. Overall
Summary
Ystad
KEY
CONCLUSIONS
Viewers
will
rarely
have
trouble
recognising
a
na?onal
seFng
but
representa%ons
of
a
region
need
to
be
clearly
iden%fiable
to
increase
loca%on
placement
value.
Modern
sepngs
are
more
likely
to
contribute
to
loca?on
awareness
since
people
can
more
easily
imagine
themselves
visi%ng
present-­‐day
loca?ons.
Landscape
and
scenery
almost
always
arract
posi%ve
loca?on
sen?ment
and
usually
contribute
to
online
loca?on
exposure.
Produc%on
genre
is
part
of
the
loca?on
conversa?on,
but
has
an
indiscernible
effect.
Audiences
will
s?ll
visit
loca?ons
which
are
backdrops
to
tough
storylines.
1.
CLARITY
IS
KING
3.
MODERN
SETTINGS
WORK
BEST
2.
THE
SCENIC
ROUTE
4.
STORYLINES
DON’T
MATTER
MUCH
35

36. Region
3
–
Apulia

37. Data
Summary
Apulia
Apulia
was
the
most
challenging
region
for
this
research
since
even
the
most
successful
produc?on
(Che
bella
giornata)
had
almost
no
commentary
outside
of
Italy
–
in
fact,
Mine
vagan%
was
the
most
popular
produc%on
outside
of
Italy
–
and
nor
was
it
en?rely
shot
in
Apulia.
Nonetheless,
it
was
s?ll
possible
to
gain
a
picture
of
the
loca?on
awareness
for
all
produc?ons.
COMMENTARY
VOLUME
&
QUALITY
ILLUSTRATIVE
COMMENTARY
“Durante
i
quasi
100
minuJ
di
proiezione
si
ride,
spesso
di
gusto,
sopratuio
nella
seconda
parte
del
film.
Se
infam
i
primi
minuJ
non
scorrono
del
tuio
fluidi
e
mancano
veri
e
propri
spunJ
comici
degni
di
tal
nome,
le
scene
migliori
sono
quelle
del
baiesimo
in
Puglia,
con
tanto
di
festa
paesana
organizzata
fra
gli
strem
vicoli
di
Alberobello,
con
un
insolito
Caparezza
costreio
suo
malgrado
a
cantare
"Non
amarmi"
o
brani
dei
Ricchi
e
Poveri,
cosa
di
per
sè
comica
per
un
pubblico
giovane
che
conosca
lo
spessore
delle
canzoni
dell'autore
pugliese.
(The
best
scenes
are
the
bapJsm
and
fesJval
in
the
streets
of
Alberobello.)”
–
cinemarecensionilab.blogspot.co.uk
(Blog)
“Lovely
views
of
a
southern
Italian
town,
peppered
with
good
food
and
hearty
familial
Jes
make
this
a
charming,
enjoyable
experience.
I
really
liked
the
opening
&
ending
sequences
with
the
family
matriarch.”
37

38. Produc%on
Summary
Apulia
€8.8M
BRACCIALETTI
ROSSI
(2014)
CHE
BELLA
GIORNATA
(2011)
MINE
VAGANTI
€1.1M
€1.7M
LPV
GENDER
AGE
COUNTRIES
REASON
FOR
LOCATION
VISIT
65%
FEMALE
35%
MALE
50%
FEMALE
50%
MALE
55%
MALE
45%
FEMALE
16-­‐25
16-­‐60
30-­‐50
96%
ITA
4%
Other
100%
ITA
MIXED
PRODUCTION
NO
DOMINANT
REASON
NO
DOMINANT
REASON
PRODUCTION
38

39. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Braccialep
Rossi
(TV
Series,
2014)
① BraccialeF
Rossi
generated
a
very
significant
volume
of
loca%on-­‐based
conversa%on
for
the
Apulia
region,
with
around
half
of
the
audience
knowing
where
the
series
was
set.
21%
of
the
audience
discussed
a
desire
or
intent
to
visit
and
around
8%
of
commentators
had
done
so.
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
65%
MALE
/
35%
FEMALE
16-­‐60
96%
ITA
/
4%
Other
POSITIVE
NO
DOMINANT
REASON
€8.8m
② However,
the
loca?on
men?ons
were
largely
unsen%mised
factual
references
to
Fasano
(94%)
as
the
sepng
for
the
series,
and
desires
to
visit
were
usually
focused
on
seeing
the
filming
or
cast
members
rather
than
anything
specific
about
the
town
or
landscape.
Sample:
50
39

40. Key
Insights
Braccialep
Rossi
(TV
Series,
2014)
BraccialeF
Rossi
fans
recognise
the
sepng
of
their
favourite
show
as
Fasano,
but
their
discussion
of
the
loca?on
is
largely
fact-­‐based
and
does
not
seem
to
be
regarded
as
integral
to
the
story.
However,
there
are
documented
visits
to
the
town
that
are
usually
the
result
of
a
desire
to
meet
the
cast
at
a
special
event,
or
as
a
result
of
other
online
promo?on.
“Peccato
che
il
nome
di
Fasano
non
compaia
da
nessuna
parte,
neppure
nei
?toli
di
coda...
(It
is
a
pity
that
the
name
of
the
city
Fasano
doesn't
appear
anywhere,
not
even
in
the
credits)”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
40

41. 0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Che
bella
giornata
(Movie,
2011)
① Despite
much
of
this
film
being
set
elsewhere,
much
of
the
audience
knew
that
part
of
it
was
set
in
the
region
of
Apulia.
② The
region’s
beau?ful
landscape,
Alberobello’s
streets,
and
rural
Italian
culture
were
the
key
conversa?on
topics
and
generated
some
desire
to
visit
the
area.
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
50%
MALE
/
50%
FEMALE
16-­‐25
100%
ITA
POSITIVE
NO
DOMINANT
REASON
€1.1m
③ This
knowledge
par%cularly
stemmed
from
the
bap%sm
scene
set
in
and
around
Alberobello’s
“trulli”
(49%
of
loca%on
men%ons),
but
Apulia
in
general
(45%)
and
Bari
(4%)
also
gained
exposure.
NB:
The
producJon
was
not
distributed
widely
outside
of
Italy.
Sample:
51
41

42. Key
Insights
Che
bella
giornata
(Movie,
2011)
Whilst
it
may
seem
that
Che
bella
giornata
did
not
perform
as
well
as
other
box
office
hits,
it
is
important
to
note
that
only
a
small
part
of
the
film
takes
place
in
Apulia
–
and
it
is
oten
this
part
that
is
well
documented
online
(especially,
the
bap?sm
in
Alberobello).
Overall,
Che
bella
giornata
demonstrates
that
a
produc%on
can
benefit
and
promote
a
region
through
having
one
key
and
memorable
scene
take
place
in
that
loca%on.
“E'
una
comicità
semplice,
ma
acceiabile
quella
di
Zalone,
con
alcune
partecipazioni
speciali
che
fanno
dei
camei
e
la
Puglia
in
primo
piano.
(It's
a
simple
comedy,
with
some
special
parJcipaJons
with
Puglia
as
a
highlight)”
“Un
paesaggio
come
quello
di
Alberobello
non
può
non
prestarsi
come
locaJon
di
set
cinematografici,
dal
1930
con
“Idillio
infranto”
fino
al
recenJssimo
“Che
bella
giornata”
di
Checco
Zalone,
dove
la
musica
del
pugliese
Caparezza
ha
trovato,
tra
le
piazzeie
e
le
stradine,
lo
strumento
migliore
per
diffondersi
tra
gli
invitaJ
al
baiesimo,
come
da
copione,
e
tra
i
turisJ
incuriosiJ.
(Alberobello
is
a
beauJful
landscape
and
cityscape
that
has
been
used
for
many
films
and
it
is
the
perfect
locaJon
for
the
recent
"Che
bella
giornata")”
“Nelle
foto,
scaiate
ad
Alberobello,
la
ciià
famosa
per
i
suoi
trulli,
immortalavano
una
scena
del
film
con
lo
special
guest,
Michele
Salvemini,
il
rapper
pugliese
in
arte
Caparezza.
(Alberobello
is
immortalised
by
one
scene
in
the
film
that
uses
its
trulli.)”
“Della
storia
non
dirò
altro.
Non
c’è
dubbio
però
che
–
dopo
una
parte
iniziale
un
po’
in
sordina
–
il
film
decolla
e
risulta
esilarante
in
maniera
quasi
liberatoria.
Preparatevi,
in
parJcolare,
alla
strepitosa
sequenza
del
baiesimo
festeggiato
ad
Alberobello!
(The
film
really
takes
off
at
the
BapJsm
scene
in
Alberobello.)”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
42

43. LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Mine
vagan%
(Movie,
2010)
① Mine
vagan?
generated
some
significant
loca?on-­‐
based
commentary,
with
31%
of
the
audience
declaring
a
posi%ve
sen%ment
to
the
loca%ons
they
knew.
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
VISITOR
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
55%
MALE
/
45%
FEMALE
30-­‐50
MULTIPLE
POSITIVE
NO
DOMINANT
REASON
€1.7m
② The
loca?ons
most
discussed
were
Lecce
(67%),
Apulia
(16%),
Punta
Suina
Bay
(6%),
and
the
remainder
being
references
to
Italy
in
general
(11%).
③ The
main
topic
of
conversa?on
was
the
beau%ful
landscape
(76%).
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
Men?on
Knowledge
Desire
Intent
Visit
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
Sample:
65
43

44. Key
Insights
Mine
vagan%
(Movie,
2010)
Given
that
Mine
vagan?
was
one
of
the
smaller
produc%ons
in
this
project,
it
generated
a
rela?vely
large
amount
of
loca%on-­‐based
commentary.
Most
of
this
commentary
was
prompted
by
the
audience’s
apprecia%on
for
the
landscape
in
the
film,
and
this
was
the
main
conversa?on-­‐driver
–
even
inspiring
one
couple
to
go
on
holiday
to
the
region
solely
as
a
result
of
seeing
this
beauty
on
screen.
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
“My
husband
and
I
planned
to
make
a
holiday
in
Puglia
Area
and
actually
came
first
to
Lecce,
because
of
the
inspiraJon
of
the
movie
“Mine
VaganJ”
directed
by
Ferzan
Ozpetek.
And
in
this
beauJful
place,
we
stayed
in
B&B
Palazzo
Bernardini
for
3
nights.
This
was
such
a
stunning
B&B.
The
helpful
and
sincere
approach
of
Isabella
(
the
owner
of
the
hotel)
was
really
impressive.
The
suite
was
furnished
with
beauJful
anJques.
A
large
living
room
opened
to
a
large
bedroom
that
opened
onto
a
small
terrace
with
a
view
of
beauJful
trees
and
flowers.
The
breakfast
was
with
local
croissant
and
special
breads
of
Lecce;
it
was
nice…
Lecce
is
one
of
the
nicest
and
historical
liile
towns
in
Italy.
And
if
you
need
a
B&B,
don’t
look
further..”
“A
very
nice
comedy
based
on
the
following
premise:
is
being
gay
or
straight
the
right
definiJon
of
a
person?
It's
well
acted,
moving
and
Italy
is
such
a
beauJful
country!”
“The
film
is
handsomely
filmed
and
the
great
looking,
almost-­‐perfect
semngs
only
seem
to
enhanced
the
imperfecJons
of
the
family
itself.
The
ediJng
(and
direcJon)
both
seem
a
bit
too
pleased
with
themselves:
some
scenes
could
have
gained
something
by
being
trimmed
a
bit.”
44

45. Overall
Summary
Apulia
KEY
CONCLUSIONS
Despite
the
fact
that
two
of
Apulia’s
produc?ons
were
not
widely
distributed
outside
of
Italy,
the
region
s?ll
managed
to
perform
reasonably
well
in
terms
of
loca?on
placement
value.
Beau?ful
scenery
will
always
catch
the
audience’s
eye,
and
that
they
may
subsequently
visit
a
region
based
on
this
alone,
regardless
of
produc?on
quality/ra?ng.
Just
one
memorable
scene
in
a
produc?on
can
associate
it
with
the
region,
and
with
las?ng
effect
(e.g.
Che
bella
giornata’s
Alberobello
bap?sm).
A
rela?vely
‘unimportant’
feature
loca?on
(e.g.
Fasano)
can
s?ll
capture
the
imagina?on
of
the
audience
and
arract
visitors
as
a
result.
1.
PRODUCTIONS
PERFORM
WELL,
DESPITE
CHALLENGES
3.
SCENERY
SELLS
2.
MAKE
IT
MEMORABLE
4.
FEATURE
LOCATIONS
CAN
STILL
WORK
45

46. Region
4
–
Malta

47. Data
Summary
Malta
Since
all
of
Malta’s
produc%ons
are
well
known,
it
was
very
easy
to
find
loca?on-­‐based
discussion
online
for
all
three.
However,
since
Malta
is
almost
always
less
‘featured’
or
recognisable
as
a
seFng
in
these
movies,
they
provide
a
good
contrast
to
the
London
produc?ons
and
each
produced
unique
insight
as
a
result.
COMMENTARY
VOLUME
&
QUALITY
ILLUSTRATIVE
COMMENTARY
“Oliver
Reed
at
The
Pub,
Valleia,
Malta.
#gladiator”
47

48. Data
Summary
Malta
€1.3M
GAME
OF
THRONES
(2011-­‐Present)
GLADIATOR
(2000)
POPEYE
(1980)
€1.1M
€12.2M
LPV
GENDER
AGE
COUNTRIES
REASON
FOR
LOCATION
VISIT
60%
MALE
40%
FEMALE
70%
MALE
30%
FEMALE
50%
FEMALE
50%
MALE
25-­‐35
45-­‐60
35-­‐60+
MIXED
70%
UK
12%
US
18%
Other
50%
US
50%
UK
41%
UNRELATED
15%
PRODUCTION
NO
DOMINANT
REASON
ANOMALOUS:
Commentators
were
likely
to
have
watched
the
produc?on
a}er
having
visited
a
prime
filming
loca?on
in
Malta
PRODUCTION
48

49. LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Game
of
Thrones
(TV
Series,
2011)
① Despite
being
filmed
in
many
other
loca?ons,
Game
of
Thrones
did
generate
a
small
amount
of
loca%on-­‐
based
commentary
for
Malta
and
many
fans
of
the
series
knew
that
it
was
partly
filmed
there
(68%
of
men?ons
surrounding
the
Maltese
loca?ons
also
knew
it
was
filmed
there).
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
60%
MALE
/
40%
FEMALE
25-­‐35
MIXED
(FROM
8
COUNTRIES)
VERY
POSITIVE
15%
PRODUCTION
43%
UNRELATED
42%
OTHER
€1.3m
② General
tourism
was
also
a
topic
of
conversa?on,
and
this
revealed
that
many
people
had
visited
Malta
before
realising
that
it
was
used
as
a
filming
loca?on
for
Game
of
Thrones.
③ Aside
of
Malta
men%ons
in
general
(32%),
loca?ons
referred
to
included
Mdina
(17%),
Azure
Window
(9%)
and
both
Valeqa
and
Dwejra
(4%).
0%
20%
40%
60%
80%
100%
Men?on
Knowledge
Desire
Intent
Visit
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
Sample:
124
49

50. Key
Insights
Game
of
Thrones
(TV
Series,
2011)
Arracts
a
lot
of
loca?on-­‐based
commentary.
One
theme
of
the
conversa?on
reveals
that
many
fans
have
visited
Malta
and
then
only
realised
later
that
it
was
a
seFng
for
the
series.
This
suggests
that
more
could
be
done
to
promote
awareness
of
Malta
on
the
Game
of
Thrones
screen
tourist
trail
(since
some
that
knew
it
was
a
loca?on
did
visit).
“Wait,
they
shot
in
Mdina?
Damn!
I
was
there
back
in
October
last
year
and
never
even
knew
they
filmed
in
Malta
otherwise
I
would
of
made
a
point
of
finding
that.
Damnit.”
“Same
here.
I
was
there
last
month.
Guied.”
“Me
Too...
Wish
i
had
known...”
“I
was
there
last
month!
Can't
believe
I
totally
missed
the
opportunity
to
look
up
where
GoT
was
filmed.
I
knew
some
parts
were
filmed
in
Malta,
but
had
no
idea
I
walked
right
pass
some
of
them!”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
50

51. 0%
20%
40%
60%
80%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Gladiator
(Movie,
2000)
① There
was
a
surprisingly
high
loca?on
exposure
generated
by
Gladiator,
since
none
of
the
loca?ons
featured
are
easily
recognisable
as
Malta.
② The
main
topics
of
conversa?on
were
general
tourism
(42%),
landscape
(22%),
‘shrining’
(15%)
and
‘pilgrimage’
(4%).
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
70%
MALE
/
30%
FEMALE
45-­‐60
70%
UK
/
12%
US
POSITIVE
NO
DOMINANT
REASON
€1.1m
③ Key
loca?ons
men?oned
were
the
bar
where
Oliver
Reed
died
(52%),
Malta
in
general
(13%),
Fort
Ricasoli
(8%)
and
Valeqa
(3%).
Other
men?ons
were
general
references
to
fic?onal
or
unrecognised
loca%ons
(21%).
Sample:
77
51

52. Key
Insights
Gladiator
(Movie,
2000)
The
movie
Gladiator
is
strongly
associated
with
Malta
through
online
loca?on-­‐based
commentary,
however
this
is
not
necessarily
solely
because
of
the
impressive
buildings
and
landscape
featured
(which
was
also
a
factor).
It
is
also
possible
to
observe
the
loca?on-­‐
associa?on
effect
that
has
been
produced
by
the
unfortunate
and
unexpected
circumstance
of
Oliver
Reed’s
death
in
Malta
during
the
filming.
Therefore,
loca?on
placement
is
not
solely
limited
to
on-­‐screen
representa?on,
and
off-­‐screen
events
can
also
have
an
effect.
“I’ve
been
to
The
Pub
in
Republic
Street
Valleia
where
Olly
Reed
spent
his
last
liri
on
loads
of
booze
before
going
to
sleep
forever.
It’s
only
Jny
but
worth
a
visit
for
any
Olly
fans.”
“What
a
great
place
Olly’s
last
pub
really
nice
to
pay
your
respects
and
have
a
drink
to
the
legend
Oliver
Reed
me
and
my
dad
even
got
to
sign
a
condolences
book
which
was
really
nice
and
took
some
great
pictures
of
inside
the
pub.
the
owner
is
a
bit
miserable
but
the
pub
itself
is
well
worth
a
visit.”
“When
I
last
visited
the
colosseum
in
2003,
I
walked
to
the
center,
stretched
out
my
arms
and
yelled,
"Are
you
not
entertained?"
There
was
a
small
rumble
of
laughter
and
a
few
people
(sounded
like
Brits)
chanted
"Maximus!
Maximus!"
My
girlfriend
was
morJfied.”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
52

53. 0%
20%
40%
60%
80%
100%
Men?on
Knowledge
Desire
Intent
Visit
Audience
Loca?on
Awareness
Unsen?mised
Very
Posi?ve
Posi?ve
Mixed
Nega?ve
Very
Nega?ve
LPV
Scorecard
–
Loca%on
Placement
Value
for
Produc%on
Popeye
(Movie,
1980)
① Popeye
has
generated
a
large
loca%on-­‐based
conversa%on
for
Malta,
and
many
viewers
are
aware
that
it
was
shot
on
a
set
in
Malta.
② Topics
of
conversa?on
en?rely
revolve
around
either
the
film
set
(68%),
general
tourism
(24%)
or
feelings
of
nostalgia
(7%)
for
both
visi?ng
the
set
as
a
child
or
seeing
it
in
the
movie.
VALUE
OF
LOCATION
CONVERSATION
(ANNUAL)
The
region’s
freely
‘earned’
social
media
conversaJon
value
as
a
least
equivalent
adverJsing
cost.
AUDIENCE
LOCATION
AWARENESS
AUDIENCE
LOCATION
AWARENESS
DEMOGRAPHIC
PROFILE
GENDER
AGE
COUNTRIES
SATISFACTION
REASON
FOR
VISIT
50%
MALE
/
50%
FEMALE
35-­‐60+
50%
UK
/
50%
US
VERY
POSITIVE
ANOMALOUS:
Commentators
were
likely
to
have
watched
the
produc?on
ater
having
visited
€12.2m
③ This
conversa?on
is
almost
en?rely
driven
by
references
to
the
Sweethaven
film
set
that
s?ll
stands
in
Malta
as
a
tourist
arrac?on.
Sen?ment
towards
this
loca?on
is
generally
very
posi?ve,
albeit
with
a
few
references
to
its
age
and
poor
maintenance.
Sample:
129
53

54. Key
Insights
Popeye
(Movie,
1980)
Loca?on-­‐based
commentary
for
Popeye
is
abundant
online
due
to
the
en?re
film
set
of
‘Popeye
village’
–
or
‘Sweethaven’
–
being
s?ll
intact
on
the
island
as
a
popular
tourist
arrac?on
in
its
own
right.
Many
people
visit
the
set
before
having
seen
the
movie,
and
thus
this
produc?on
presents
an
anomaly
whereby
the
loca%on
serves
to
provide
powerful
ongoing
promo%on
for
the
movie.
“I
bought
this
DVD
for
my
grandson's
birthday
a}er
visiJng
the
film
set
in
Malta.
He'd
never
heard
of
Popeye,
but
has
watched
the
film
six
Jmes
and
he
loves
it.”
“Bought
this
originally
on
video
in
Malta
a}er
visiJng
the
film
set
about
20
years
ago.
Wanted
to
show
my
kids
before
we
went
back
-­‐
they
loved
it,
and
every
Jme
we
visit
the
film
set
we
have
to
watch
it
again!”
“Just
sharing
a
quick
photo
I
took
with
my
phone
this
morning,
at
Popeye
Village,
Malta.
SalutaJons!”
“We
were
here
a
few
years
ago
with
kids
they
had
an
absolute
ball
and
we
enjoyed
it
too!!
Got
the
video
out
when
we
got
home
and
they
really
enjoyed
picking
out
the
houses
they
had
been
in.”
“This
is
where
they
filmed
the
Popeye
film,
and
it
is
exactly
as
it
was
in
the
film,
it
is
superb,
and
brilliant
for
the
kids.
One
Jp
watch
the
film
before
you
go
you
will
appreciate
it
more.”
“I
thought
the
set
(Sweethaven),
was
very
comical
yet
useable,
liveable
and
the
"no
sense
of
Jme"
previously
menJoned
just
brings
it
out
more.
I'd
visit
it
if
I
were
ever
to
travel
near
Malta.”
CONTEXT,
THE
AUDIENCE
&
SOCIAL
MEDIA
ILLUSTRATIVE
COMMENTARY
54

55. Overall
Summary
Malta
KEY
CONCLUSIONS
The
audience
of
fantasy
produc?ons
–
or
any
produc?ons
that
use
‘stand
in’
loca?ons
–
will
benefit
from
clarity
as
to
where
their
produc?on
was
filmed.
A
loca?on’s
novelty
can
result
in
the
las?ng
promo?on
of
a
produc?on,
even
34
years
ater
it
was
originally
released
(i.e.
Popeye,
1980).
Events
surrounding
produc?ons
can
oten
become
as
famous
as
the
produc?on
itself,
and
oten
become
forever
associated
with
the
loca?on
as
a
result.
Given
that
Malta
is
not
widely
known
to
be
a
featured
loca?on
in
any
of
the
three
produc?ons
chosen,
it
has
performed
excep?onally
well.
1.
TELL
US
WHERE
IT’S
FILMED
3.
NOVELTY
AND
LEGACY
2.
LOCATION
VALUE
TRANSCENDS
FILM
PLACEMENT
4.
GENERAL
NOTE
55

56. Findings
&
Appendix

57. Overall
Summary
Demonstrates
the
successful
applica?on
of
a
social
media-­‐based
methodology
to
the
measurement
of
‘loca?on
placement
value’
in
twelve
unique
produc?ons
across
mul?ple
languages
(including
one
series
of
films).
Shows
that
TV
series
perform
as
well
as
movie
produc?ons
in
their
loca?on
placement
value
–
and
oYen
perform
even
beqer
if
the
loca?on
is
both
contemporary
and
easily
recognisable.
1.
SOCIAL
WEB
RESEARCH
IS
APPROPRIATE
3.
TV
SHOWS
AND
FILMS
BOTH
PERFORM
WELL
2.
PRODUCTION
SETTING
IS
RELATED
TO
EXPOSURE
4.
LPV
RELIES
ON
LOCATION
AND
PRODUCTION
QUALITY
Exposes
the
link
between
a
produc%on’s
sepng
and
subsequent
loca%on-­‐based
exposure
and/or
documented
visits
to
a
loca?on.
To
what
degree
depends
on
the
specifici%es
of
the
produc%on
and
the
nature
of
the
featured
loca?on
(fic%onal,
recognisable,
etc.).
Shows
that
loca?on
placement
value
is
a
product
of
both
the
loca%on
and
the
produc%on’s
intrinsic
quali%es,
and
should
not
be
seen
as
dependent
on
either
alone.
Key
Conclusions
57

58. Recommenda%ons
for
Further
Research
Tracking,
Expansion
&
Data
Blending
Consider
a
‘tracking’
programme
to
inves?gate
how
loca?on
placement
value
may
change
over
?me
(e.g.
before,
during,
and
ater
produc?on
releases)
and
adjust
the
scope
of
the
research’s
?meframe
accordingly.
Consider
integra?ng
GDP
and
tourist
value
sta?s?cs
if
working
in
partnership
with
tourism
agencies
(e.g.
place
a
value
on
the
conversa?on/visitor
origin
to
increase
granularity
of
the
digital
landscape’s
value).
1.
TRACK
OVER
TIME
3.
DATA
BLENDING
2.
LANGUAGE
SUPPORT
4.
MEASURE
COUNTRY
LEVEL
&
FANTASY
LOCATIONS
Increase
language
support
for
produc?ons
that
are
only
known
within
their
country
of
origin.
Structure
and
rank
‘loca?on
awareness’
for
country
as
well
as
region.
Also,
consider
incorpora?ng
and
ranking
fic?onal
loca?ons
as
well.
58

59. Appendix:
Data
Visualisa%on
&
Access
Dashboard
For
added
transparency
and
future
discussion,
Human
Digital
have
provided
a
sample
of
the
data
used
in
this
study
at
the
following
address:
hrp://dash.human-­‐digital.com/euroscreen
This
dashboard
features
content
used
in
the
qualita?ve
analysis
of
the
report.
The
sample
displayed
represents
the
top
75%
of
our
total
sample
when
ranked
by
‘rela?ve
influence’
–
i.e.
how
influen?al
a
piece
of
content
is
online
in
rela?ve
terms
of
reach
(visibility)
and
engagement
(amount
of
people
that
have
interacted
with
it).
The
data
is
also
ranked
by
loca?on
sen?ment
(on
the
x-­‐axis),
and
is
filterable
by
produc?on,
region,
user
demographic,
and
plazorm/channel
type.
59

60. Buchmann,
A.K
In
the
Footsteps
of
the
Fellowship
–
Understanding
the
Expecta?ons
and
Experiences
of
Lord
of
the
Rings
Tourists
on
Guided
Tours
of
New
Zealand.
Lincoln
University,
Lincoln,
2007.
Cloudberry
Communica?ons,
The
Millennium
Report
Economic
Impact
and
Exposure
Value
for
the
Stockholm
region
in
the
Swedish
Millennium
Feature
Films.
Cloudberry
Communica?ons,
Stockholm,
2011.
Croy,
G
The
Lord
of
the
Rings,
New
Zealand
and
Film
Tourism:
Image
Building
with
Film.
Department
of
Management
Monash
University,
Melbourne,
2004.
European
Audiovisual
Observatory,
Database
on
Admissions
of
Films
Released
in
Europe
(hrp://lumiere.obs.coe.int/)
Film
London
and
the
Euroscreen
Partnership,
Case
Studies
2013.
London,
2013.
Kraaijenzank,
M
Movie
Induced
Tourism
an
Analy?cal
Report
on
how
The
Lord
of
the
Rings
Trilogy
has
Affected
Tourism
in
New
Zealand.
Aalborg
University,
Aalborg,
2007.
Mansson,
Maria
&
Eskilsson,
Lena,
Euroscreen
-­‐
The
Arrac?on
of
Screen
Des?na?ons:
Baseline
Report
Assessing
Best
Prac?ce,
2013.
Olsberg
SPI,
Stately
Arrac?on
How
Film
and
Television
Programmes
Promote
Tourism
in
the
UK,
2007.
Oxford
Economics,
The
Economic
Impact
of
the
UK
Film
Industry,
2012.
Vagionis,
N
‘Movies
as
a
Tool
of
Modern
Tourist
Marke?ng’
–
Tourismos
Volume
6,
Autumn
2011,
pp.
353
-­‐362.
Visit
Britain
and
Sony
Pictures
Partnership,
BOND
is
Great
Global
Evalua?on
Report,
2013.
Ystar
Kommun,
The
Movie
Town
Ystar,
Media
Analysis,
2012.
Bibliography
60

61. Project
Team
OSMAN
JUNAID
SIMON
RICHARDSON
OSMAN@HUMAN-­‐DIGITAL.COM
SIMON@HUMAN-­‐DIGITAL.COM
61

62. About
Us

63. Who
we
are
2011:
Becomes
part
of
the
M&C
Saatchi
Group
2014:
Partnership
with
Capgemini
Consul%ng
2008:
Founded
by
Sarah
Ward
(CEO)

64. Who
We
Are
PROFESSIONAL
SERVICES
CONSUMER
PUBLIC
SERVICES
EVENTS
&
ENTERTAINMENT
ADVERTISING
/
PR
AGENCY

65. CHARACTER
BASED
LANGUAGES
Urdu
phrase:
Translitera?on:
Mujhe
Daktar
Ki
Zururat
He!
Tranlsa?on:
I
need
a
doctor!
SENTIMENT
Geordie
phrase:
“howay
man!”
Transla?on:
Proclama?on
of
exhorta?on
or
encouragement
(crucially,
it
can
be
both
posi?ve
and
nega?ve!)
Usage
1:
"Howay
man!
We
gannin'
doon
Morrisons
to
beat
the
queue?”
(Unsen?mised)
Usage
2:
“HOWAY
THE
TOON!!!”
(Posi?ve)
Usage
3:
“Howay,
then”
(Based
on
context,
nega?ve)
SLANG
Scouse
word:
“scran”
Transla?on:
Food
Usage:
'Off
to
me
ma's
for
tea
-­‐
she
does
proper
boss
scran,
y'know.’
Context:
Quan%fica%on
of
Words
and
Pictures
Social
media
data
is
challenging
to
quanJfy
since
much
of
it
appears
as
word,
picture
and
video
(as
opposed
to
more
binary
forms
such
as
transacJonal
or
sales
data).
For
this
reason,
it
is
criJcal
for
early
human
intervenJon
during
the
verificaJon
process
to
ensure
high
levels
of
accuracy.
Human
Digital
applies
an
indexing
methodology
that
allows
words
and
pictures
to
be
quanJfied
using
engagement,
reach
and
share
of
voice
metrics.
It
is
for
this
reason
that
we
remain
the
agency
of
choice
for
Transport
for
London,
RBS,
Pearl
and
Dean
and
Unilever
amongst
others.

66. CONTENT
VISIBILITY
500 x bigger
than the
Surface Web
The machine readable web
Unreadable
by machines
Deep Web
Requires native speaking,
human-led verification
Surface Web
Context:
The
Asymmetric
Web
Our
methodology
is
not
constrained
to
the
‘Surface
Web’
–
the
secJon
of
the
web
accessible
to
machine-­‐collecJng
technologies.
We
consider
every
local
social
plaqorm
across
every
market.
Doing
so
enables
us
to
establish
where
target
audiences
naturally
exist.

67. Our
Research
Process
SOURCE
ANALYSE
ORGANISE
REPORT
Unstructured
data
collec%on
1) Viewing
the
world
through
the
consumers’
eyes
2) Loca?ng
primary
loca?ons
of
engagement
&
content
crea?on
3) Collec?ng
all
relevant
UGC
Data
structuring
1) Topics
of
discussion
2) Sen?ment
codifica?on
3) Consumer
journey
stages
4) All
other
KPIs
Human-­‐led
analysis
1) Accoun?ng
for
linguis?c
nuance
&
idiom
2) Foreign
language
analysis
3) Cultural
context
4) U?lising
our
team’s
exper?se
Repor%ng
Not
just
answering
ques%ons,
but
defining
them,
based
on
what
consumers
really
feel.

68. Case
Studies

69. TFL:
Commercial
Opportuni%es
Selling London to the World by Understanding Where
Overseas
Visitors
Go
Iden5fy
commercial
and
other
opportuni5es
available
by
analysing
geo-­‐
located
commentary
generated
by
Overseas
Visitors
across
social
media
• There
is
a
belief
that
25-­‐30%
don’t
travel
when
there
are
disrup?ons
but
not
much
knowledge
about
what
they
do
instead,
e.g.
take
car,
stay
at
home.
• We
analysed
geolocated
tweets
which
could
easily
be
related
to
Oyster
data
and
proved
to
correlate
highly
with
it.
• This
provided
berer
informa?on
than
customer
sa?sfac?on
surveys
and
at
a
frac?on
of
the
cost.
Tweets
are
real-­‐?me,
real
and
unprompted
and
therefore
objec?ve.

70. TFL:
Reputa%on
Tracking
Quantification
of
Customer
Dissa?sfac?on
around
Planned
Closures
Discover
how
the
public
responds
to
announced
disrup5ons
• There
is
a
belief
that
25-­‐30%
don’t
travel
when
there
are
disrup?ons
but
not
much
knowledge
about
what
they
do
instead,
e.g.
take
car,
stay
at
home.
• We
analysed
geolocated
tweets
which
could
easily
be
related
to
Oyster
data
and
proved
to
correlate
highly
with
it
• This
provided
berer
informa?on
than
customer
sa?sfac?on
surveys
at
a
frac?on
of
the
cost.
Tweets
are
real-­‐?me,
real
and
unprompted
and
therefore
objec?ve.

71. Olympic
Delivery
Authority:
Measurement
Track and Measure travel behaviour during
the
Olympics
Deliver hourly, daily, and monthly reports to relevant stakeholders
across the ODA
in
order
to
inform
real
Jme
communicaJons,
provide
an
early
warning
mechanism
around
travel
‘hot
spots’
and
measure
changes
in
travel
behaviour
based
on
markeJng
acJvity.

72. Olympic
Delivery
Authority:
Measurement
Hourly Monitoring:
Early
Warning
Daily
Repor?ng:
Communications
Monthly
Repor?ng:
Evaluation

73. Unilever:
Campaign
Performance
Identify, Track and Measure Key Influencer Sentiment around
the Dove ‘Real Beauty’ Sketches Campaign
Analysis
of
Chinese,
Arabic
and
English
Key
Influencer
commentary
to
measure
the
impact
of
the
Sketches
Campaign

74. Unilever:
Campaign
Performance
OBJECTIVE
To identify key Dove communities in English, Arabic &
Chinese languages, and…
1. Which channels they engage on
2. How they speak about Dove
3. How they perceive Dove
4. How that perception changed over time in response to
marketing effort
3 key business outcomes:
1. Key Influencer lndex extended from 50 to 400 within 48 hours
for campaign use
2. Identification of influencer keyword combinations, fed into
media activity across Facebook, Twitter, YouTube
3. Visualised data through bespoke Unilever dashboard for
global and local team access (left)
OUTCOME
Totally unscientific experiments that prove
nothing - Forums
“I just feel strongly that it’s a great
campaign to remind women that YOU can
find your own beauty.” - Blogs
“Ohhh how fabulous an experiment to
demonstrate to women they are beautiful but
incredibly shallow and stupid!!!” - Blogs
This is SO Awesome! +Dove nails it again!
#IntrinsicSelfWorth - Twitter

75. Thank
You
If
you
have
any
quesJons
about
the
contents
of
this
report,
or
would
like
to
get
in
touch
to
see
if
Human
Digital
can
help
your
business
beier
understand
its
online
audience,
we’d
love
to
hear
from
you.
HUMAN
DIGITAL
PORTLAND
HOUSE
4
GREAT
PORTLAND
STREET
LONDON
W1W
8QL
+44
020
7404
6434
INFO@HUMAN-­‐DIGITAL.COM