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La newsletter de mars 2017

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[Meet the Eurodata TV Worldwide Team]


Our clients and partners report on their successes, projects and relationship with Eurodata TV Worldwide.

[What’s new?]

[New on the air]

[Join the team]

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MIPTV is right around the corner!

As the evolution of 4-screen measurement & the changes in viewing habits have been two core subjects for us in the recent months, we want to keep you up to date and what a better opportunity than at MIPTV 2017.
Eurodata TV Worldwide has a lot to offer this year during our four, ‘not-to-miss’ conferences which will be presented during this major global TV and Digital Content Market in April. For a second year running we will be opening MIPTV with: One TV Year in the World: Cracking Audience Trends”. During this presentation, we will give you a peek into new uses, digital viewer-seduction strategies, past hits and future trends in four-screen audience measurement and international viewership tracking. A must-see conference! This information will be taken from our latest One TV Year in the world Report due to be released at the end of April.

Over the two days of MIPformats, Eurodata TV will present TV Viewing Trends, covering the new hits that will give long-running formats a run for their money. We will also share how entertainment is adapting to the different platforms and younger viewing habits. To compliment this, our head of Research Sahar Baghery will also take part in an interview and discussion on youth audiences.
Our final and fourth conference to kick off the Junior@MIPTV programme “Global Kids: A super-fast binge session” will unleash a preview of the newest, hottest, highest-rated kids shows from around the world, and on multiple platforms.
For more information on any of the MIPFormats or MIPTV conferences mentioned above just click here. As usual, we will be happy to welcome you at our stand (P-1 C.56) for any questions you may have concerning our new One TV Year in the World report or if you would like a 4-screen demo.

We look forward to seeing you at MIPTV!

Laurent Battais,
Senior Vice President, Eurodata TV Worldwide

Find out more about our insight reports:

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Made in France: What current & upcoming productions are hitting International screens?
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The Eurodata TV Worldwide team is constantly travelling around the world to meet our clients/partners and bring a unique insight through conferences, seminars and festivals around five continents. In the coming months you can meet and hear us at:

  • MIPFormats
    Cannes, France
    1st April 2017

    “TV Viewing Trends” by Sahar Baghery, 10:50 – 11:30 am
    Sahar Baghery - sbaghery@eurodatatv.com
  • MIPFormats
    Cannes, France
    2nd April 2017

    “Understanding today’s youth audiences” by Sahar Baghery and Christian Kurz, 14:30 – 15:00 pm
    Sahar Baghery - sbaghery@eurodatatv.com
    Cannes, France
    3rd April 2017

    “One TV Year in the World: Cracking Audience Trends” by Frédéric Vaulpré, Sahar Baghery and John Peek, 09:15 – 10:00 am. Animated by Stewart Clarke, TBI.
    Frédéric Vaulpré - fvaulpre@eurodatatv.com
    Sahar Baghery - sbaghery@eurodatatv.com
    John Peek - johnp@tape-services.com
  • Junior@MIPTV
    Cannes, France
    4th April 2017

    “Kids@MIPTV” by Sahar Baghery on April 4th, 9:15 – 9:45 am
    Sahar Baghery - sbaghery@eurodatatv.com
  • Kazachok Licensing Forum
    Paris, France
    19th-20th April 2017

    Aurore Levêque - aleveque@eurodatatv.com

Wherever you are in the world, we look forward to seeing you soon!

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Our clients and partners report on their successes, projects and relationship with Eurodata TV Worldwide.

To what extent is television viewing popular in India?

India has the largest TV viewership measurement panel in the world with close to 100,000 individuals. BARC India runs a panel of 20,000 households and plans to reach 50,000 households by the end of 2019.
With a universe of 780 million TV watching individuals, 26.7 billion weekly impressions and an average time spent of 3 hours and 24 minutes, television viewership in India is huge, and still growing. This also reflects in advertiser affinity for the medium, which still accounts for 45% of the total advertising spend in the country.
Within this huge market, Dramas with 53% viewership share, Movies with 17% share and News with 11% are the 3 most preferred programme genres.

More specifically, how does International Content perform in India?

International TV Content (which falls largely under our genres of “English Entertainment” and “English Movies”) has a loyal and growing viewership in India which derives directly from the huge base of English speaking population in India.

We have seen a spike in both English Movies and English Entertainment genre viewership which grew by 42% and 23% respectively over the previous year. An interesting insight is that English language content is consumed outside of big cities as well: with as much as 60% viewership for English Entertainment coming from Tier II and Tier III markets. 

English Fiction shows are well received by Indian audiences. Shows like Suits, Supergirl, Quantico have done very well on Indian television with channels seeing huge spikes in viewership when these shows were aired. 

How large is the sports offer on Indian TV channels?

When it comes to sports, while Cricket remains the most popular on Indian television, premium sports events like the Barclays Premier League, La Liga, Bundesliga, Tennis Grand Slams, WWE and Rio Olympics have also proved to be a hit with Indian viewers. The popularity of these sports properties can be gauged from the fact that there are currently 22 sports channels (10 of which are in HD) catering to dedicated viewers of these sports events.
A global sporting event like Rio Olympics was watched by 203.8 million unique viewers in India. 

You recently released your “Broadcast India 2016” survey. Could you please tell us what the main highlights are?

BARC India’s Broadcast India (BI) Survey is the largest ever Research Study undertaken to ascertain TV universe & Television Viewing Habits in India, as well as mapping consumer profiles and behaviour. With this, we have updated and aligned our TV Universe in line with current demographics, TV ownership, language preferences, changes in socio-economic profile etc.
According to the study, TV owning households in the country have gone up from 154 million in 2015 to 183 million. The current TV viewing universe stands at 780 million individuals, a 16% jump from 2015. 64% of households in India own a TV, which shows a huge headroom for growth for the sector. While earlier Urban and Rural India had an almost equal split of TV homes, Rural India now has 17% more TV homes than Urban India, a relevant fact for Broadcasters and Advertisers.

Our study also highlights growing importance of the middle class in India: TV households in mid-two socio-economic categories have shown highest growth, thereby increasing their share and importance in overall TV viewership. While percentage of top socio economic category is largely flat, the share of bottom categories has actually dropped from 23% to 20%. The combined share of the two mid socio economic categories have risen from 55% to 59% of the total TV universe.

We also observe a growing fragmentation of family sizes, leading to rise in share of “nuclear families”, and drop in average family sizes. This trend is in line with rising economic growth and prosperity. India has more nuclear families than ever before, and this is also the dominant family group among TV owning homes. While composition of joint families in the universe has come down from 26% to 22%, nuclear families without elders has grown from 53% to 58%.

Migration between states, improvement in electricity supply and infrastructure and rise in overall consumption in rural India have contributed to these trends.

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Entertainment: fewer successes but more original shows

This last semester has seen only a few new successful Entertainment shows in the 11 studied countries* of our report, which were only original ideas, as only 6 countries have new shows among their top 15 in prime-time. Even if there is less than usual, there are still few resisting old shows which are gathering crowds.

New successes: between adaptation and original ideas

Within the 11 studied countries, Italy had the highest number of new shows in its top 15. Indeed, 5 new launches featured in the ranking, including 2 adaptations of competition shows: Grande Fratello VIP (Celebrity Big Brother) which is a spin-off of the Dutch classic, and Little Big Show (Little Big Shots), a kids’ talent show that came to Italy only 9 months after its American launch. Other stand-outs were local variety shows celebrating the life of Italian music icons: Viva Mogul Con I Grandi Della Musica and Nemicamatissima?

Another country with strong new formats is Israel. Four new original formats are ranked. The most successful was the survival contest set in the Amazon Welcome to The Wild (ranking at the 7th place), which has already been renewed for a second season which will take place in the Himalayas. Other new ranked programmes are quiz shows Locked and The Best of All as well as the celebrity chat show The Comedians.

Powerful events to gather crowds

Four national rankings are led by strong national or international events, such as the pageant Election de Miss France (most watched entertainment programme in France) or OT: El Reencuentro en Concierto (#1 in the Spain ranking), a one-time-only concert performed by former contestants of the iconic talent show Operación Triunfo. Both Opening and Closing Ceremonies of the Summer Olympics have been real successes in the USA. The Opening Ceremony gathered 27.6 million viewers, clearly above any other entertainment shows broadcast over the semester in the country.

Japan: an Asiatic land of entertainment

Not studied last year, Japan’s ranking was exclusively made of original shows. The best performing entertainment programme in the second semester of 2016 was The 67th NHK Koharu Singing Fight. This recurring talent show aired every year on New Year’s Eve sees a “white team” and a “red team” battle for victory. The programme gathered a 52.9% market share. Its performance is all the more impressive as it gathered nearly twice as many viewers as the next one: Going to the End of the Earth Q (11,155,000 viewers against 6,733,000), an adventure show all around the world. However, the two shows record quite similar ratings in the commercial target, attesting to the success of Going to the End of the Earth Q among the younger audience.

The 2017 edition of the Entertainment Report, analyzing the trends and hits of the genre in 11 leading countries* in 2016, will be released in April.

*Studied countries: Denmark, France, Germany, Israel, Italy, Japan, Netherlands, Spain, Sweden, United Kingdom, USA

Sources: Eurodata TV Worlwide / Mediametrie / Nielsen TV Audience Measurement / Nielsen Media Research / Kantar Media Israel / Kantar Media Spain / Video Research Ltd / All relevant partners

For further information on Entertainment programmes please contact us!
Nicolas Sorton - Research and Account Executive - nsorton@eurodatatv.com
Tel: +33 (0) 1 71 11 00 68
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The domino effect of 4-screen Audience Measurement

2016 has seen a great step made in the world of TV audience measurement with the release of the very first 4-screen audience measurement. Multi-device TV viewing has become the real challenge and each country is evolving its audience measurement step by step in a domino effect.

For a decade now, we have seen TV viewing evolve. The first challenging evolution has been its massive delinearisation, that is time-shifted viewing in all its forms (TV programme recording, catch-up platforms). Following this evolution, time-shifted viewing has been measured and then included in the TV audience currencies in an increasing number of countries (more than thirty countries measured it in 2016). In 2015, time-shifted viewing brought an average additional audience of 7% to the global TV programming in 26 countries; this additional audience depending of course significantly of the specificities (both cultural and technological) of each local market as well as of the type of programme viewed. But, although the audience measurement technology used in some countries (portable people meter, use of audiomatching…) allowed them to catch part of the viewing outside of the TV set, both the methodology and the results have only encompassed viewing on the TV screen.

In addition to its delinearisation, the multi-device TV viewing has become the real challenge of TV measurement these last few years. To catch this volatile and fragmented audience, traditional TV results that are extrapolated from a panel need to be completed by viewing platforms site centric data. All this needs to be done with a consistent and unified methodology to give the TV market the comparable data and third-party validation that it requires. Indeed, video platform often communicate on big aggregated viewing figures that often roughly add up viewers of different episodes of a given show while TV viewing currency is mainly about average number of viewers, which lead to dubious comparisons in both press releases and comments. That explains why TV audience measurement institutes are challenged with the release of 4-screen ratings that will provide comparable figures which will allow to strictly take into account the additional audience of other screens, understand better how a programme is watched (to adapt its content, its broadcasting format…) and measure the stakes of other-screen monetisation.

2016 has seen the release of 4-screen audience measurement in the Netherlands and in France with figures available for the whole market to buy. But several other countries have an analogous measurement being released in 2017, such as Japan, Denmark, the United States, Sweden and hopefully many others.

While the more established audience measurement keeps evolving, we also see more and more TV audience measurement being released in countries where there was not previously. This year’s edition of the One TV Year report will for instance for the first time welcome TV measurement figures from Bangladesh, Myanmar, Singapore and Sri Lanka. This reminds us that the TV market is not only evolving but is still expanding, which constantly brings new opportunities to develop worldwide TV content consumption.

For further information of TV Audience Measurement please contact us!
Florent Carême – Research Manager - fcareme@eurodatatv.com
Tel:  +33 (0) 1 47 58 36 25
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LA PORTA ROSSA – The series’ first episode was a huge success: it boosted Rai 2’s channel share on total individuals by 80%.

Created by thriller novelist and popular presenter of inquiry shows, Carlo Lucarelli,this highly anticipated series is a bold attempt by Rai to experiment with supernatural thrillers, an uncommon theme for the Italian public audience.

Italy – Rai 2 / Series – The series follows the investigation of a detective on a case: his own death, thanks to the help of a medium who can help him come back to life in the shape of a ghost.


ULTIMATE BEASTMASTER – This 600-foot-long obstacle course, co-produced by Sylvester Stallone, is the first grand-scale reality competition of Netflix, featuring 108 competitors from 6 countries.

International Platform – Netflix / Reality - "Ultimate Beastmaster" is an international competition reality with six customized local versions featuring local languages, competitors and hosts from each of the 6 competing countries: U.S., Brazil, South Korea, Mexico, Germany and Japan. It features 108 competitors, 18 from each country, in total.


NÆRKONTAKT – This reality show had a stellar premiere performance, tripling Kanal 4’s market share for commercial target 19-50 and young adults 15-34.

The former minister Manu Sareen, a participant in the programme, is now convinced that he was in contact with his deceased mother during the programme. He has since then renounced his old beliefs that the afterlife was only “nonsense from American TV”.

Denmark – Canal 4 / Reality show – This programme is a factual reality show in which three celebrities stay in a house together with three clairvoyants for 24 hours.


Source: Eurodata TV Worldwide / NOTA / Relevants partners

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Join the Eurodata TV Worldwide team!

The Eurodata TV Worldwide department analyses and gives access to audience performances of television programmes in more than 100 territories across the world. Our clients are TV producers, TV Channels, Copyright Organizations, Sponsors, etc.

Do you have a strong interest in international television? You already keep an eye on new launches and programming trends?

Join our team!

Media Consultant (M/W)

Our Research department is currently seeking a Media Consultant for a full-time position.

You are responsible, with your team, for carrying out studies on international TV trends, studies in multi-underwriting and ad hoc studies responding to customer requests.


You coordinate the production of studies: from the analysis and synthesis of data from the MyEtv databases, to the international watch until the realization of the study reports and the delivery of the results to the clients.

You watch the international TV content (NOTA). In liaison with the sales managers, you produce regular studies for your customers that you accompany in their reflections.
You propose the axes of studies and guarantee the analysis and the realization of the reports, in connection with the team.
You bring your expertise in content and markets during conferences and conferences. You participate in the communication of studies in relation to the communication department (publication, press releases, emailings and customer brochures).

Profile required:

Strong interest in international TV markets - actors, trends, formats, audiences.
Mastery of the production of studies, synthesis and analysis of the data.
Proposal strength and ability to speak in public.
Bilingual English with master's degree in writing, fluency in other languages.

Thank you to apply via the following address: gaubry@mediametrie.fr

International TV Research and Client Service Executive (M/W)

Our Research department is currently seeking a Research and Client Executive for a full-time position.


Reporting to a Research Manager, you monitor new international TV & online programmes on a daily basis and create programme cards accordingly. You produce reports and services concerning international audience performances, as well as a report on digital and multiscreen behaviour. Your writing skills allow you to write articles and analyses in English about international trends in TV programming.

You are responsible for data extraction and the checking, formatting and analysis of reports to be delivered to your clients.


You’re an excellent English writer but can also be a forward thinker, you have with the skills to understand data / audience measurement
Marketing / Research/ Media background
A first experience (1 to 2 years) in a media or market research agency, advertising agency or at a channel is preferred.
You should be comfortable working with figures and be thorough, methodical and inquisitive. You will also need to be proficient in Word, Excel and Powerpoint.

Post based in Levallois-Perret, (North-West Paris) Metro 3: Pont de Levallois-Becon)

Thank you to apply via the following address: gaubry@mediametrie.fr

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