New Zealand Marketing - - In Association With Tvnz - *SOURCE: NIELSEN TAM

TVNZ’S new­est chan­nel is stir­ring things up with a bold ap­proach to ad­ver­tis­ing and reach­ing the hard to reach and tech-savvy au­di­ences.

TVNZ launched its new en­ter­tain­ment chan­nel DUKE in March, but al­ready its lat­est of­fer­ing has made a big impact on the Kiwi media land­scape. Just eight weeks in from launch, the fully streamed chan­nel had seen more than 1.7 mil­lion view­ers tune in*, 25,000 fans click ‘like’ on so­cial media and 30 ma­jor ad­ver­tis­ers line-up to reach its au­di­ence made up of the tech savvy and hard-to-reach 18-39 male de­mo­graphic. But that’s far from likely to be the big­gest impact it makes – TVNZ has made no se­cret of the fact it’s us­ing DUKE to test out some in­ter­est­ing new ways of reach­ing au­di­ences and de­liv­er­ing con­tent and value to ad­ver­tis­ers.

Within its key male de­mo­graphic, DUKE has al­ready sur­passed es­tab­lished chan­nels like SKY Sport 1, Com­edy Cen­tral, Dis­cov­ery, Edge TV and The Box, ac­cord­ing to Nielsen TAM rat­ings for 6pm to mid­night – DUKE’S core broad­cast hours. TVNZ di­rec­tor of con­tent Jeff Latch puts that down in part to the unique mix of en­ter­tain­ment and sports the chan­nel of­fers, com­bin­ing scripted en­ter­tain­ment like Scam City and The In­de­struc­tibles, favourite come­dies like Fam­ily Guy and Brook­lyn Nine-nine, with a healthy ros­ter of live sports in­clud­ing the NFL and World Rally Cham­pi­onships. “Most chan­nels that are com­pet­ing against it are ei­ther purely sports chan­nels or, al­ter­na­tively, they’re spe­cific to a genre,” he says.

“I think that DUKE’S mix is unique in the mar­ket­place. In fact, it’s pretty unique glob­ally. I think that’s why it’s do­ing quite nicely and peak reach is grow­ing quickly. It’s im­pres­sive.”

Latch ex­plains DUKE is geared to­wards at­tract­ing the com­mer­cially sought-af­ter male au­di­ence be­cause free-to-air

chan­nels in New Zealand, and in much of the world, typ­i­cally skew fe­male. And be­cause DUKE’S view­er­ship is more weighted to­wards guys – he an­tic­i­pates view­er­ship will even out at around a 6040 male-fe­male split – it de­liv­ers a “re­ally ef­fi­cient way” for ad­ver­tis­ers to buy the at­ten­tion of male au­di­ences.

Launch­ing DUKE has given TVNZ a valu­able prov­ing ground for some of its more ex­per­i­men­tal ideas around ad­ver­tis­ing and the way con­tent is de­liv­ered to view­ers. What sets DUKE apart from the pack is that it is fully live-streamed and broad­cast on air at the same time. For au­di­ences, it’s about meet­ing their de­sire to watch con­tent on what­ever de­vice is handy – tele­vi­sion, smart­phone, Plays­ta­tion, lap­top or tablet. “For us as a busi­ness, ul­ti­mately it’s less about which chan­nels the au­di­ence uses to ac­cess and in­ter­act with our con­tent,” says com­mer­cial di­rec­tor Jeremy O’brien, “and just mak­ing sure we get out con­tent in front of au­di­ences where, when and how they want to watch it.”

But one of the things that makes the si­mul­ta­ne­ous on­line and on air broad­cast re­ally in­ter­est­ing is the way TVNZ is us­ing it to test out a to­tal video au­di­ence mea­sure­ment. Au­di­ence mea­sure­ment is a shift­ing science that has been strug­gling to keep up with frag­ment­ing media plat­forms, and us­ing CPM – cost per 1000 im­pres­sions – is one way to bridge that gap. O’brien ex­plains that ev­ery time DUKE is streamed, a time-stamp feeds back to TVNZ’S servers at 10-sec­ond in­ter­vals to let them know the stream is still ac­tive. By match­ing the time-stamps with Nielsen rat­ings, TVNZ can mea­sure the to­tal au­di­ence. “Put those two together and you have your first kind of hy­brid of a fused au­di­ence mea­sure,” he says.

“We think a uni­fied cur­rency and mea­sure­ment makes it a whole lot sim­pler for the ad­ver­tiser to com­pare and con­trast value be­tween medi­ums.”

An­other dif­fer­ence in DUKE is the lighter ad­ver­tis­ing load – around a quar­ter of what you’d find on other TVNZ chan­nels. But DUKE doesn’t

limit ad­ver­tis­ers to tra­di­tional 15, 30 or 45-sec­ond spots and O’brien says there’s plenty of op­por­tu­nity to ex­plore longer-form con­tent-led cre­ative within that space. “We think this plat­form pro­vides a range of flex­i­bil­ity that we can’t pro­vide across our broad­cast chan­nels,” O’brien says. “By virtue of the fact that they are broad­cast they have to ap­peal to a wide au­di­ence – and be­cause of the de­mand in and around those chan­nels, those ad breaks are much more tightly con­trolled. But there’s a lot more free­dom within an environment like DUKE.”

In that sense, DUKE is a bit of an ex­per­i­men­tal lab. Its tar­geted, dig­i­tally en­gaged au­di­ence makes for the per­fect pi­lot environment for th­ese kinds of ex­per­i­ments, al­low­ing TVNZ to test what works well – and when it does, roll that out more widely.

To dis­cuss DUKE ad­ver­tis­ing op­por­tu­ni­ties, please con­tact: Louis Niven, GM On­line Sales, phone +64 21 366 333

Brook­lyn Nine-nine

Clock­wise from top left: NBA, The Late Late Show with James Cor­den, The In­de­struc­tibles

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