This moment presents itself as a great opportunity for brands, as viewers understand and want to be impacted by advertising.
Regardless of the platform or format, the fact that TV remains sovereign, whether on open channels, for free, or on closed channels, due to the characteristics of the audience, the segment is little affected, even with the frenetic advance of other media. which points out this Special, which brings an up-to-date picture of what the sector represents to the market.
To give you an idea of what is to come, free-to-air TV, for example, continues and will continue to have a prominent place at home and in brands’ communication plans, even if everything is connected, as the current model dictates. The increasingly sophisticated devices meet consumer demand, which today has more than one TV at home.
Advertising also gains a lot from this, although it has to squander creativity, since those who are watching are no longer satisfied with a 30-second commercial. He wants more and is willing to be impacted. Everything put together and mixed, results in the statement that TV is still the biggest and main vehicle for the majority of the Brazilian population, in addition to being the object of desire of the big brands in advertising.
And when it comes to closed TV, it is observed that operators and programmers invest and seek partnerships to adapt to new platforms and content alterations coming mainly from streaming, themselves launching their own on demand services, to adapt to new viewing habits. media consumption. Due to the dimensions of Brazil, the satellite is still the only signal that reaches more remote regions, where internet access is still deficient, compromising the expansion of streaming. Another front is combating piracy, with alliances and awareness campaigns to compensate for losses that reach BRL 12 billion a year.
Today, according to data from Kantar Ibope Media, consumption only on TV sets/CTVs registers 87% of linear TV (open and closed) and 13% in streaming. If you expand this consumption and put all devices in the same basket (TV, CTVs, cell phone, tablet and smartphone) of 78% of linear TV (open and closed) and 22% in streaming. Turning it into numbers, the amount billed by open TV, between January and September 2022, according to data from Cenp-Meios, is a little over R$ 6 billion. Pay-TV, on the other hand, earned around R$830 million. The sum of the share of both sectors is 50.6% (open TV has 44.5%; and closed TV, 6.1%).
Melissa Vogel, CEO of Kantar Ibope Media, highlights the great effort that free-to-air TV stations have made towards transformation, which presents itself as a great opportunity to continue adapting to new times. For her, the consumer wants to be impacted in some way and that, in itself, is already a great advantage, as it reveals itself as a chance for brands and expands the range of actions for advertising and marketing. Today, projects in this sense are increasingly sophisticated, using the various screens.
Last year, Kantar Ibope Media began measuring multiscreens and consumption in solid numbers. The consumer understood how to navigate on screens and accepts being impacted by advertising. He is more flexible, she explains, who believes that there is a natural exchange between consumption and brands.
More transformation
For Melissa, the sector will continue to invest in technology and in the transformations that will be seen with the definition of 5G standards, which should occur between 2024/2025. The executive also highlights the arrival of TV 3.0, which brings more interactivity and innovation in the way of zapping. Called the TV of the future, the new generation of devices comes with technologies linked to the use of the internet to improve the viewer’s experience. The image, for example, is one of the characteristics in which the quality jumps, since it goes from Full HD to 4k or even 8k. This means that the image has at least four times as many pixels, bringing more information per space, improving color and sharpness. The sound is immersive and the viewer has a fuller experience. Who wins with all this progress is also advertising.
At the end of 2022, Kantar’s media division launched Media Trends & Predictions 2023, which presents the annual forecast of how the media landscape will evolve worldwide in this year that has barely begun. The material focuses on five trends for the industry: the future of visualization, the impact of inflation, the evolution of data use, the development of new media technologies and the path to net zero (see details on next page).
The report provides a definitive view of the media industry’s next trends using Kantar data, along with evidence-based forecasts and expert views. The insights should help content producers such as broadcasters and video on demand platforms and brands navigate 2023 and plan for the future. Therefore, Kantar Ibope Media foresees a year full of challenges and opportunities for the media industry.
One of the five trends elaborated by Kantar Ibope Media that should call the market’s attention is the one that deals with the Development of New Technologies. According to the institute, a series of technologies gained strength throughout 2022 and one of them was connected TV, which reached its peak in penetration and use.
Data from the Kantar Ibope Media study show that, in Brazil, the insertion of electronics more than doubled in four years, going to 57% of homes. And by 2023, in addition to facilitating new forms of advertising, such as displaying ads on home screens and menus, connected TVs are poised to develop addressable advertising capabilities and expand their reach. The sector is forecast to grow by almost US$ 30 billion by 2024, reveals the institute.
coping
The pandemic period, as incredible as it may seem, was a rich one for the Bandeirantes Group. This is what Caio Carvalho, the group’s executive director for communications and corporate affairs, says. According to him, the station was already undergoing a restructuring process and the health crisis caught the company prepared to face enormous challenges. He cites as an example the unification of TV and radio, an old dream of the company. This union strengthened both platforms.
He doesn’t use percentages to illustrate growth. He just says that economic numbers do not reveal the meaning of the audience’s perception. According to him, all the investments that the station has made in recent times have been converted into what he calls audience qualification. The changes moved the audience.
In addition to investing in programming and hiring big names, such as presenter Fausto Silva, and also in journalism, he highlights the transmission of the Carioca Championship, Formula 1 and UFC. Band also took an important step by promoting debates between candidates for public office in the 2022 elections, in addition to covering the election.
Everything turned into a positive image, according to the executive. Although streaming is the key thing at the moment, the platform doesn’t scare Carvalho, as he thinks that open TV will remain firm and strong for the next 20 years. The market will adapt and open TV will continue to exist, at least for another 20 years.
The station broadcasts Carnival throughout Brazil and this year it will air the carioca revelry, in addition to street blocks in So Paulo. This opens up a wide range of opportunities. Brazil went through the pandemic, agitated elections and, now, good winds are blowing. For him, more important than data and numbers is the improvement of the audience profile.
Band has a survey that compares the numbers of the prime band (from 7 pm to midnight) in 2022 with 2021 on free-to-air channels. According to Band, Fausto’s debut had a great impact. Among the main free-to-air broadcasters, only Band had growth in total number of households. The advance, according to the company, was 24%. TV Brasil and Record News were the other two channels that showed growth.
Another bet by Band is its collection that brings together reports and is in great demand by the producers. It also has the Vera Cruz Stadium, in São Bernardo do Campo, where programs such as Masterchef are being produced. Carvalho also mentions Teatro Brigadeiro, in So Paulo, which was designed for artistic training, that is, a school of dramaturgy. The executive claims that few know about all these projects, but that they are now going to work to show the market everything they have been doing to generate more qualified series and programs. We are looking for innovative ways.
Read the full story in this week’s issue.
