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#Ratings: How Twitter data could drive viewing figures #Ratings: How Twitter data could drive viewing figures
(4 months later)
"I used to wander round Shepherd's Bush, looking in people's windows, particularly people in basement flats, to see whether or not anyone was watching". Things have changed a lot since Richard Curtis wrote the first series of Blackadder. Audience data has been a key part of that change."I used to wander round Shepherd's Bush, looking in people's windows, particularly people in basement flats, to see whether or not anyone was watching". Things have changed a lot since Richard Curtis wrote the first series of Blackadder. Audience data has been a key part of that change.
Now TV hashtags are changing the way we watch, and the way that programmers are interacting with us. Take, for example, last month's Channel 4 documentary 'True Stories Dogging Tales'. The show attracted about 2.2 million viewers, almost double the number of people watching the same slot the previous week.Now TV hashtags are changing the way we watch, and the way that programmers are interacting with us. Take, for example, last month's Channel 4 documentary 'True Stories Dogging Tales'. The show attracted about 2.2 million viewers, almost double the number of people watching the same slot the previous week.
But a large part of that audience switched on after logging into Twitter where a storm was brewing over the programme.But a large part of that audience switched on after logging into Twitter where a storm was brewing over the programme.
About 118,000 #DoggingTales tweets during the show's broadcast had an indisputable impact on the show's viewing figures. The content ranged from analyses of what the show was about:About 118,000 #DoggingTales tweets during the show's broadcast had an indisputable impact on the show's viewing figures. The content ranged from analyses of what the show was about:
@ashTV: #DoggingTales - the Channel 4 version of Springwatch
@Jonesvision: This is Britain's Blair Witch Project #DoggingTales		@ashTV: #DoggingTales - the Channel 4 version of Springwatch
@Jonesvision: This is Britain's Blair Witch Project #DoggingTales
To the Radio Times' editor suggesting – earnestly, we're sure – how the show should be watched:To the Radio Times' editor suggesting – earnestly, we're sure – how the show should be watched:
@timglanfield: For a fully immersive viewing experience, try watching C4's #doggingtales in your pants on your iPhone in the driveway with a passer by.@timglanfield: For a fully immersive viewing experience, try watching C4's #doggingtales in your pants on your iPhone in the driveway with a passer by.
That might not sound like particularly detailed, or useful viewer data. But accelerating word of mouth from hours to real-time reactions does have big implications for the way that programmers use numbers.That might not sound like particularly detailed, or useful viewer data. But accelerating word of mouth from hours to real-time reactions does have big implications for the way that programmers use numbers.
For one thing, that 2.2 million viewership number isn't foolproof. It comes from BARB, the Broadcasters' Audience Research Board – a not-for-profit funded by all the major national channels that provides the official TV viewing figures that you're often quoted.For one thing, that 2.2 million viewership number isn't foolproof. It comes from BARB, the Broadcasters' Audience Research Board – a not-for-profit funded by all the major national channels that provides the official TV viewing figures that you're often quoted.
To find out what we're watching, they commission a research company called RSMB to choose a sample of households that "always encompasses the full range of demographic and TV reception variations". Ipsos Mori are contracted to make sure that those households remain representative and Kantar Media are used by BARB to ask those households to have all of their TV viewing constantly monitored.To find out what we're watching, they commission a research company called RSMB to choose a sample of households that "always encompasses the full range of demographic and TV reception variations". Ipsos Mori are contracted to make sure that those households remain representative and Kantar Media are used by BARB to ask those households to have all of their TV viewing constantly monitored.
It's pretty detailed, providing individual demographic information and accounting for 'timeshift viewing' - when a programme is watched with seven days of the original broadcast.It's pretty detailed, providing individual demographic information and accounting for 'timeshift viewing' - when a programme is watched with seven days of the original broadcast.
But it also requires a lot of trust in the participating households since they're asked to register their presence and absence in a room where a TV is switched on. More seriously, it extrapolates considerably as each of the 5,100 households in the sample are supposed to represent the UK's 26 million 'TV households'.But it also requires a lot of trust in the participating households since they're asked to register their presence and absence in a room where a TV is switched on. More seriously, it extrapolates considerably as each of the 5,100 households in the sample are supposed to represent the UK's 26 million 'TV households'.
Statistics published by BARB for the past year include:
• 92.3% of children watched at least 3 minutes of consecutive TV weekly in 2012
• That figure was 94.5% for adults
• Adults watched on average 4.01 hours of TV per day in 2012 (61 days of TV in a year) compared to 3.54 hours in 2002 (54 days in a year).		Statistics published by BARB for the past year include:
• 92.3% of children watched at least 3 minutes of consecutive TV weekly in 2012
• That figure was 94.5% for adults
• Adults watched on average 4.01 hours of TV per day in 2012 (61 days of TV in a year) compared to 3.54 hours in 2002 (54 days in a year).
Though it's also not perfect, Twitter is becoming an important tool in getting better audience data because it can help identify the difference between people merely viewing a programme, and those engaging with it – not to mention what they actually think of the show. What's more, understanding audience reactions can give a strong indication about whether they are likely to watch the next installment.Though it's also not perfect, Twitter is becoming an important tool in getting better audience data because it can help identify the difference between people merely viewing a programme, and those engaging with it – not to mention what they actually think of the show. What's more, understanding audience reactions can give a strong indication about whether they are likely to watch the next installment.
Twitter now publishes a producer's guide on their site. Although this is about how programmes can increase your Twitter following, TV producers are more likely to use the same advice to boost viewer numbers. In the image below, each of the tweet peaks refers to a specific event as the 2011 MTV Video Music Awards were being aired.Twitter now publishes a producer's guide on their site. Although this is about how programmes can increase your Twitter following, TV producers are more likely to use the same advice to boost viewer numbers. In the image below, each of the tweet peaks refers to a specific event as the 2011 MTV Video Music Awards were being aired.
The jump in tweets at 'E' shows when Beyoncé began her performance while 'F' indicates the moment she revealed her baby bump. Combining this data with the conventional audience figures means that it would be possible to come up with a formula about the way that Twitter makes people switch on/switch over/switch off - though of course that formula would change for every programme.The jump in tweets at 'E' shows when Beyoncé began her performance while 'F' indicates the moment she revealed her baby bump. Combining this data with the conventional audience figures means that it would be possible to come up with a formula about the way that Twitter makes people switch on/switch over/switch off - though of course that formula would change for every programme.
The video below uses animation to show the speed and magnitude of an audience reaction on Twitter to a question posed by a show's presenter. According to Beevolve, the average Twitter user has 208 followers, meaning that each of those tweets has the potential to have a much greater reach.The video below uses animation to show the speed and magnitude of an audience reaction on Twitter to a question posed by a show's presenter. According to Beevolve, the average Twitter user has 208 followers, meaning that each of those tweets has the potential to have a much greater reach.
Has a tweet ever influenced a TV choice for you? Do you think Twitter data can change the way TV is produced and the way we watch it? Share your views by posting a comment below.Has a tweet ever influenced a TV choice for you? Do you think Twitter data can change the way TV is produced and the way we watch it? Share your views by posting a comment below.
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