Illumina Digital's presentation Transition of broadcast to interactive” from Turing Festival August 2011

1. Transition of broadcast to interactive
Andrew Chitty
Illumina Digital

2. 1953

3. 1994
2.1m
+ viewers = x3

4. 1995
1.1m
THE
NET + viewers = x 650

5. 2011
10.5m
+ + viewers = x
3,184,127

6. ENGAGEMENT WITH THE SHOW

7. ENGAGEMENT WITH THE SHOW
 extend the experience

8. ENGAGEMENT WITH THE SHOW
 extend the experience
 extend the content

9. ENGAGEMENT WITH THE SHOW
 extend the experience
 extend the content
 make it social

10. ENGAGEMENT WITH THE SHOW
 extend the experience
 extend the content
 make it social
 create campaigns

11. PARTICIPATION IN THE SHOW

12. PARTICIPATION IN THE SHOW
 interactive elements

13. PARTICIPATION IN THE SHOW
 interactive elements
 play along

14. PARTICIPATION IN THE SHOW
 interactive elements
 play along
 competitions

15. PARTICIPATION IN THE SHOW
 interactive elements
 play along
 competitions
 gamification

16. INTERACTIVE PRODUCTION

17. INTERACTIVE PRODUCTION
using online/mobile platforms for

18. INTERACTIVE PRODUCTION
using online/mobile platforms for
 recruitment

19. INTERACTIVE PRODUCTION
using online/mobile platforms for
 recruitment
 contributions

20. TRANSACTIONS DRIVEN BY THE SHOW

21. TRANSACTIONS DRIVEN BY THE SHOW
 commercial

22. TRANSACTIONS DRIVEN BY THE SHOW
 commercial
 data

23. TRANSACTIONS DRIVEN BY THE SHOW
 commercial
 data
 direct from show or brand extensions/licenses

24. DIGITAL DISTRIBUTION OF THE SHOW

25. DIGITAL DISTRIBUTION OF THE SHOW
4od, ITVplayer, iPlayer, YouTube

26. DIGITAL DISTRIBUTION OF THE SHOW
4od, ITVplayer, iPlayer, YouTube
 iTunes

27. DIGITAL DISTRIBUTION OF THE SHOW
4od, ITVplayer, iPlayer, YouTube
 iTunes
 Facebook

28. DIGITAL DISTRIBUTION OF THE SHOW
4od, ITVplayer, iPlayer, YouTube
 iTunes
 Facebook
 Consoles

29. ENGAGEMENT WITH THE SHOW

30. PARTICIPATION IN THE SHOW

31. INTERACTIVE PRODUCTION

32. TRANSACTIONS DRIVEN BY THE SHOW

33. NO IMPACT ON COMMISSIONING?
• All successes are TV successes
• All failures are TV failures
• Interactivity and engagement can’t save a
show
• No show has ever been re-commissioned on
the basis of its interactive success*
• Why?
*yet

34. NUMBERS
• Financial value of marginal TV viewers are
currently greater than those of online users
• 10% conversion of 2.5m to online (£Million
Drop) = success
• 30% conversion of 1.1m in same slot = an
interesting failure
• TV Value chain
(producers, broadcasters, advertisers) can
monetise their core business viewers better
than their digital users*
*at the moment

35. DIFFERENT DYNAMICS/DIFFERENT BEHAVIOURS?

36. DIFFERENT DYNAMICS/DIFFERENT BEHAVIOURS?

37. DIFFERENT DYNAMICS/DIFFERENT BEHAVIOURS?

38. DIFFERENT DYNAMICS/DIFFERENT BEHAVIOURS?
• Television is an entertainment medium; TV
shows are events. Interaction is
– Hugely spiky
– Short lived
– Brand/show driven
– Support calls to action

39. DIFFERENT DYNAMICS/DIFFERENT BEHAVIOURS?
• The online world is communications driven.
Sites and apps are services. Interaction is
– sustained
– repetitive
– needs focussed
– easier to cross sell
– Support behaviour change

40. LIMITS OF MULTIPLATFORM

41. CHANGING COMMISSIONING?
TV commissioning will really have changed when
we see:
– Entertainment shows with interactivity at the core
– Factual Programmes commissioned to to support
transactional services, whether of data or
cash, not the otherway around
– True transmedia narrative experiences

42. TRANSMEDIA STORYTELLING?

43. FACTUAL PROGRAMMING from Content to Service

44. INTERACTIVE/TRANSACTIONAL GAME SHOWS?