Digital platforms and the Operación Triunfo experience in linear television
Category: RTVE, research, Audiovisual Consumption
The study was carried out using a pioneering methodology in the industry, combining data from panelists along with a passive measurement of their uses, along with surveys focused on those content consumers.
During the 2018 season of Operación Triunfo we conducted a study together with Netquest and Fluzo in order to measure the entire viewership (and motivations) of the program on every platform where it was available, both on linear and digital TV; YouTube and RTVE.es.
The study was carried out using a pioneering methodology in the industry, combining data from panelists along with a passive measurement of their uses, along with surveys focused on those content consumers. By using microphones on mobile devices of 1,800 panelists we matched their viewing behavior of Operación Triunfo for 4 months with all the content generated by this program, thus identifying content viewed and the platform where it takes place, to later survey them in order to go deeper into the behavior that we know they demonstrated.
By being able to monitor consumption 24/7 and understand it, we obtained powerful insights into the 2018 season of Operación Triunfo:
Identifying parts of the program and how it works throughout its entire broadcast:
- A first phase of content generation in which viewers are very aware of what’s happening on TV and RTVE.es due to not having generated a large amount of video footage from moments at the academy, more linked to YouTube.
- The second phase emerges once this content from the academy is generated; the viewer watches content on YouTube in greater proportion (closely linked to moments of controversy and personal relationships).
- We conclude with a very strong third phase, related to the moment of voting for the winner of the contest. Again, this is the moment where television content is the point of reference and the galas emerge as highly relevant moments.
Understanding the way viewers consumer content after one week. This way, we identify those viewers who watch two consecutive galas in order to understand their weekly "menu" of OT content; these advanced consumers organize the way they watch programing by taking into account the latest content that’s being uploaded to digital platforms. We also identify those who don’t watch two consecutive galas, among whom viewing on digital platforms is different, but contained throughout the week; viewing content more linked to the galas than to what happened at the academy.
Analysis of program viewers with four different fan profiles.
1) “Pure digital" represents 14% of viewers; it’s a younger profile that doesn’t view TV content and spends 28 minutes watching OT per week.
2) “Traditional,” 12% of Operación Triunfo viewers who are older and view digital content linked to the galas (in the event they miss it). They watch, on average, 1 hour and 10 minutes per week.
3) “Intensive multiplatform,” is a more feminine and younger profile that represents 10% of viewers. This profile devours all types of content generated on any platform. This equates to viewing 3 hours of content per week.
4) “Sporadic" corresponds to 64% of viewers and is similar to the Spanish public that views some type of content related to the program for 7 minutes.
Research methodology: 1,800 panelists monitored with audio matching during the broadcast length of Operación Triunfo and 16 panelist-focused surveys with an impact on the same period.