Mais conteúdo relacionado Semelhante a FAN OUT: Netflix Digital Strategy (20) FAN OUT: Netflix Digital Strategy1. ASSIGNMENT FOR Skillshare Course:
Crash Course in Digital Strategy
Tutor: @juliancole
FAN OUT EXPANDING THE VIEWERSHIP
DIGITAL RATEGY
BY
PATRICK MEEHAN
@ideas4pleasure
www.iampatrickmeehan.com
2. 2
“ etflix subscribers don’t just
N
sign up for original content
or specific shows, but for
the overall experience...”
– Reed Hastings Netflix CEO
© PATRICK MEEHAN 2013
3. CLIENT BRIEF 3
THE MISSION To create a unique digital strategy for Netflix
promoting the release of ‘Hemlock Grove.’
© PATRICK MEEHAN 2013
4. BUSINESS OBJECTIVE 4
THE Goal
Increase brand awareness / brand lift of
Netflix amongst horror fans through the
unique experience of Hemlock Grove
by 5% by June 2013.
© PATRICK MEEHAN 2013
5. TITLE 5
Let’s Get A Feel For
The Landscape.
© PATRICK MEEHAN 2013
7. BLAH BLAH
INSIGHTS 7
Netflix Consumer Profile:
Gender: M/F relatively equal (56% F)
BLAH
Age: ~50% of audience between 25-44
Children: relatively equal (56% w/o kids)
Household $$: affluent. 57% earn $100k+, 84% earn $50k+
Education: College grads+ (59%), no college still relevant (41%)
BLAH BLAH
Race: overwhelmingly white (78%)
Data shows consumer’s who binge-view once, binge-view again.
Peak viewing on weekends. Drop off by Wednesday.
BLAH
© PATRICK MEEHAN 2013
8. BLAH BLAH
DISCOVER: INSGHTS 8
Horror Consumer Profile:
Gender: Male dominant.
BLAH
Age: 18 - 24 are the largest target amongst male group.
Behavioural: High susceptibility to excitation transfer process.
Behavioural: xperience both negative and positive
E
emotions simultaneously.
BLAH BLAH
Physiological: ig difference between people that watch/ like
B
horror movies and people that do not.
Psychological: Horror elicit’s strong emotional reactions.
Psychological: he appeal of horror depends on
T
BLAH
characteristics of the viewer, the film, and
the viewing circumstances.
© PATRICK MEEHAN 2013
9. BLAH BLAH
DISCOVER: INSGHTS 9
Consumer Behaviour: We are x3 more likely to have our
viewing habits shaped by social media. (AU)
BLAH
Consumer Behaviour: 59% of people use online video’s to
help inform them of consumer choices. (AU).
BLAH BLAH
Consumer Behaviour: 33% discuss a programme whilst
watching an actual programme (AU)
Consumer Behaviour: People like watching whole seasons rather
BLAH
than small parts of TV shows. (Don’t like waiting.)
© PATRICK MEEHAN 2013
10. BLAH BLAH
DISCOVER: INSGHTS 10
Consumer Curated Content: format is not driven by traditional
programming constraints. Not driven by advertising.
BLAH
Consumer Centric Content: Results in creative and varying
lengths of content. No ads etc etc. Does not adhere to standard
22 or 44min practice on free to air.
BLAH BLAH
Consumer Centric Content: “It’s television on my terms.”
Consumer Centric Content: Enjoy the connectedness with the
BLAH
show or movie and the nuances of the storyline, the characters,
an the obvious convienence of ‘Viewing On Demand.’
© PATRICK MEEHAN 2013
11. BLAH BLAH
DISCOVER: INSGHTS 11
Quality Competitive advantage: credible and assured content
BLAH
deals. (Expansive range. Better quality resolution viewing.)
Quality Competitive advantage: Riding benefits from internet
infrastructure (Who doesn’t want faster internet.)
BLAH BLAH
Quality Competitive advantage: Charges at a reasonable and
competitive rate compared to that of cable or pay TV.
($8 p/month vs $70 p/month + programming constraints.)
BLAH
© PATRICK MEEHAN 2013
12. BLAH BLAH
DISCOVER: INSGHTS 12
Quality Competitive advantage: As a result of pricing it will have
BLAH
a positive elastic income demand on market since its forecast to
increase consumption by 95% of the next 10years.
Q
uality Competitive advantage: because its investing in
BLAH BLAH
funding and producing content as well and since it has
guaranteed revenue model. This is a long term investment
in the entertainment industry. (Hemlock Grove.)
BLAH
© PATRICK MEEHAN 2013
13. BLAH BLAH
DISCOVER: INSGHTS 13
Product Benefit: Previews to a movie are sometimes the best
part. (Costly exercise of bad choice/ misleading ad.)
BLAH
Product Benefit: Flexible, allows us to watch when and where
we like rather than traditional settings (viewing on demand.)
BLAH BLAH
Product Benefit: Data driven entertainment. They know what
we watch, when we watch, where we stop watching, where we
repeat a scene, where we reach for the fast-forward button,
and most critically, when we break off and move on.
BLAH
© PATRICK MEEHAN 2013
15. DISTILL: CORE INSIGHTS 15
FOMO
Now its no longer “how” you consume TV, but rather
“how you control” your viewing. Its ‘consumer curated’
consumption. Never ever miss out again.
love hurts
Horror fan’s are “sensation-seeking” viewers.
WORD OF MOUTH
Basically its in our nature to rely on recommendations of peers
and friends to give us information to help make decisions.
© PATRICK MEEHAN 2013
17. DISTILL: CORE INSIGHTS 17
DATA BANK
Data on the consumer consumption habits illustrates
subscriber habits of viewing (when, what, where...how.)
IMPORTANT ISSUES
Geographically its still predominately a North American
and Canadian service. Given that it relies on the internet...
it should be more global service.
Biggest issue is hardly anyone knows of
Hemlock Groves or its release.
© PATRICK MEEHAN 2013
18. DISTILL: BEST QUESTION 18
Is the market already over-saturated with
supernatural horror entertainment?
© PATRICK MEEHAN 2013 ** IMAGE © HILLARY WHITE
19. DISTILL: BEST QUESTION 19
how are we going to do
something useful useable
and entertaining???
© PATRICK MEEHAN 2013
20. DISCOVER 20
By tapping into the
psychological affects,
the physiological effects
the behaviour that
drives the obssession
towards horror viewing.
© PATRICK MEEHAN 2013
22. BRIEFING 22
Strategy:
Show and Tell the excitment and the experiences of
sensation viewing through Hemlock Grove.
Insight:
LOGO Horror is designed to elicit strong emotional reactions
from viewers and it gives us an outlet to rationalize and
face our biggest fears and taboo thoughts.
Proposition:
Face your Fears with Helmock Grove on Netlfix.
Reason’s to Believe:
We’re still sitting around the campfire telling stories.
The fire’s become a movie screen and the darkness
is still outside us, around our backs.
The horror still goes to the heart of that situation,
its a source of shared experience.
© PATRICK MEEHAN 2013
23. IDEA: FOUNDATION 23
Once you start there is
THERES NO TURNING BACK
We’re going to play our cards to those
voyeuristic tendencies and peverse
pleasures of masochism. That condition
of putting oneself through the titilations
and excitements of frightening, threatening
and truamatizing situations.
© PATRICK MEEHAN 2013
24. THE BIG IDEA 24
(Yes, I know its an oxymoron!)
...
© PATRICK MEEHAN 2013
IMAGE © GLUE SOCIETY REVOLVER FILMS
25. THE BIG IDEA 25
Because horror fans ‘love’ their horror
and all the unpleasantness that goes
along with it.
So what’s the worse thing that could
happen to a horror fan???
© PATRICK MEEHAN 2013
26. THE BIG IDEA 26
Someone F@$#! with the things you love.
annoying!
frustrating
UNPLEASANT
© PATRICK MEEHAN 2013
27. THE BIG IDEA: EXPLANATION 27
We’ll create a interactive campaign
driven by the possibilities and
‘emotional contagion’ effects from
being terrorized and horrified but also
enjoying them too.
© PATRICK MEEHAN 2013
28. 28
Its intriguing. It’s engaging,
And it’s peverse pleasure at it’s best.
© PATRICK MEEHAN 2013
29. THE BIG IDEA: HOW IT WORKS 29
1. Suspense: Short, sharp messaging. Excitement emotional connection
through tactically placed viral messaging and short content.
Build dramatic tension and momentum.
2. Intrigue:
More motivation – give them something; ‘The Deal’, to watch
the show free for 13 hours + access to extra content.
3.Terror: them the twist – The paying subscribers get the ability
Tell
to ‘toy’ with your viewing pleasure through a series of digital
torture and scare tactics. Whilst paying subscribers get the new
product the ‘Scaretime’ wristband.
4.Horror: The Premiere – ‘Scaretime’ wristband for paying subscribers
to that measures your physiological experience; heart rate,
adrenalin spikes and feed you back the data.
5.Obsession: isualized data to show you where and at what point you
V
were actually feeling; scared, excited, disgusted etc etc.
© PATRICK MEEHAN 2013
30. THE BIG IDEA RECAP 30
So what we’re doing is giving the viewers
what they want from a horror show;
An interactive experience;
– Something they can relatable too.
– fresh form that is linked and relevant to
A
the journey and genre of the show.
– journey they can contribute too
A
and engage.
– ccess to more than just a show....
A
Interesting content/ experience.
– omething that goes to the core of why
S
you watch horror (understanding.)
© PATRICK MEEHAN 2013
31. THE BIG IDEA CHECKLIST 31
� IS IT USEFUL
� IS IT USEABLE
� IS IT ENTERTAINING
© PATRICK MEEHAN 2013
32. COMMUNICATION FRAMEWORK 32
Intuative cross-channel marketing
Less about ‘selling in’ a channel, but selling ‘through’ a channel.
© PATRICK MEEHAN 2013
33. COMMUNICATION FRAMEWORK MODEL “I need a new horror show to watch.” 33
Face your fears. We know what you want. Do you?
AWARENESS
CONSIDERATION
REACTION
BUYING BUYING
“This looks okay. Maybe.” “This looks crazy!”
Indulge those tendencies We know exactly how you feel,
BUYING BUYING would you like to see more?
BEHAVIOR
© PATRICK MEEHAN 2013
“It’s just another horror show. I’ll just torrent it”
We’ll give it to you for free for 13 hours only.
34. COMMUNICATION FRAMEWORK MODEL 34
AWARENESS
“It’s just another horror show”
“Have you seen how
crazy this looks”
CONSIDERATION
REACTION
BUYING BUYING
BUYING BUYING
“I wonder if it’s any good?”
“I love that feeling I get
from watching horror”
BEHAVIOR
© PATRICK MEEHAN 2013
35. MEDIA DIGITAL ECOSYSTEM 35
Awareness
Why Twitter Vine:
– Foundation short-form content application.
– horter the message, the better the response
S
from your target audience.
– Short-form video content app embedded in Twitter.
– Introduce new content (micro preview)
– Create short stories that address news or new content.
– A glimpse of your full length content.
– Eli Roth skills in short period (suspensful.)
– No one is using it for horror atm...Pioneer of channel.
© PATRICK MEEHAN 2013
36. MEDIA DIGITAL ECOSYSTEM 36
Awareness
Why Integrated Facebook:
– Ability to connect directly to profile info for content.
– To develop socially interactive experiences into the mix.
– Mobile ready.
Why Augmented Reality:
– Bridge offline to online (digital streams)
– Interactive doesn’t just mean online!!!
– Trigger a ‘experiential’ TTL experience. Digital core.
Why Web Banners:
– We’re only using tactically placed banners to create awareness.
– Position on underground culture and sympathetic sites.
– Possibly trigger AR content or tunnel journey throught too...
– Cause its trackable.
© PATRICK MEEHAN 2013
37. MEDIA DIGITAL ECOSYSTEM 37
BEHAVIOR
Why Youtube:
– Current habit for trailers.
– High traffic content site.
– HUGE reach.
– Annotations and overlays for continuing journey.
Why Spotify:
– Free On-Demand-Listening service integrated to Twitter Fb
– Music is another stimuli that parallels well with Video.
– PR the showthrough access to soundtrack.
Why Data Product:
– Real time data gather.
– Insightful; measures consumer experience directly.
– Novel, useful and differeniating.
© PATRICK MEEHAN 2013
38. MEDIA DIGITAL ECOSYSTEM 38
Vine
Twitter
Augmented
Reality
AR
WEB Microsite
Banners
Integrated
Integrated Mobile
Mobile Microsite
Microsite
Youtube
Spotify
© PATRICK MEEHAN 2013 Dataveillance Product
39. KPIs 39
RETENTION
+5% increase in subscriptions from the campaign in 4 months.
PURCHASE
80,000 extra viewers at first drop
Overall 23,000 extra subsribers throughout.
PREFERENCE
20% increase in viewership of first two episodes
5.6% increase in average viewership through series.
2.5 % increase in current subscriber engagement
CONSIDERATION
286,666 qualified visitors
AWARENESS
5% Increase in brand awareness of platform
21,927,500 impressions from the tri-network of paid media
120,000 YouTube views.
© PATRICK MEEHAN 2013
40. BUDGET 40
$1,480,000 Production =
Data Product + Data Tracking = $500,000
$70,000AR / HTML5 Microsite =
$50,000
Integrated Fb Mobile Micro =
$50,000 Vine Twitter* =
$30,000Rich media / Banners =
YouTube Trueview = $30,000
$10,000 Spotify =
(5% of Hemlock Grove Production cost) Total = US$2.25M
© PATRICK MEEHAN 2013
41. TIMEFRAME 41
Pre-Release march 2013
Display.
Anaylze.
Track.
Record.
Share.
Post-Release JUNE 2013
© PATRICK MEEHAN 2013
42. NETFLIX DIGITAL STRATEGY 42
GOAL
Increase brand
STRATEGY
Show Tell the experience
awareness of Netflix and the excitment of sensation
amongst horror fans viewing through hemlock grove.
through the hemlock
grove experience.
KPI’S TACTICS
+5% Increase in subscriptions from campaign. Spatial P2P conversation. Less linear.
© PATRICK MEEHAN 2013
43. REFLECT 43
“IF YOU WANT SOMETHING YOU’VE
NEVER HAD, YOU NEED TO DO
SOMETHING YOU’VE NEVER DONE”
Assignment for Skillshare Course:
Crash course in Digital Strategy
Tutor: @juliancole
Assignment:
Patrick Meehan
@ideasforpleasure
© PATRICK MEEHAN 2013 www.iampatrickmeehan.com