Podcasts about oztam

It was the sudden declines in footy audiences that did it for Suncorp Executive Manager of Media, Greg Kearney and OMD Chief Media Partnerships Officer, Marelle Salib. They knew that diehard sports fans don’t just ditch their teams overnight. But Kearney and Salib had years’ worth of market mix model (MMM) data that countered the volatile numbers coming from OzTAM back in 2023. Those zero ratings, or “doughnuts” per Foxtel Media boss Mark Frain, preceded the split between the pay TV provider and the free-to-air TV networks on measurement, with Foxtel Media breaking away to use Kantar to validate its own return path data from a million subscribers. Digging deeper showed that the ratings were way off for a slew of shows, “and clients were asking what was going on”, per Salib. No measurement system can ever be 100 per cent perfect all of the time, she acknowledges, but OMD has been running Kantar and its own client MMM data in parallel: “What we're seeing is the performance of things like sports sponsorships are remaining stable, and that is a really good indicator of performance … The Kantar data set appears to be really robust,” says Salib. While Suncorp has a sophisticated approach to media investment, Kearney says reach remains a “crucial” input. “We need to know where the audience is, and it's changing so rapidly. If you don't know that, you're significantly behind the eight ball. And secondly, audience numbers are a huge part of the cost equation,” he says. “If you don't get that right, the inputs into your market mix models are going to be off … and you're never going to have a good view on your business outcomes.” Foxtel’s Frain acknowledges the move from one measurement system to another is “pretty challenging” for the industry, but says breaking away and enabling Foxtel Media to plug its pipes into multiple data sources and market mix models “is the best thing we have ever done”. Plus, it gets the pay TV provider closer to closing the loop on how media investment actually delivers a business result. Now Frain’s aiming to plug in more data sources.See omnystudio.com/listener for privacy information.

Welcome to an audio-led edition of Unmade. Today, ahead of his visit to Australia for next month's IAB Leadership Summit, we talk to IAB Tech Lab's CEO Tony Katsur about the state of play in digital advertising. And the Unmade Index approaches a new low.Only Unmade's paying members get full access. They were entitled to a ticket to today's inaugural Unlock conference in Sydney. They also get an invitation to our Compass: Reflections and Projections event, taking place across six states throughout November. Next year they'll also be able to join us at our AI-focused conference HumAIn (Q2 2025) and at our retail media conference REmade.They get full access to our archives, which go behind the paywall after two months. Feeling jealous of all that access? Maybe that should be you. Upgrade today.‘Data provenance is going to be one of the top issues in 2025 and 2026': What IAB Tech Lab CEO Anthony Katsur worries aboutBeing the boss of IAB Tech Lab, the standard setting body of the digital advertising industry, must be a frustrating experience. With more responsibility than power, the IAB attempts to shepherd its members towards agreed tech standards including around audience measurement.In the rise of the open web, the industry broadly agreed about specs like standard ad sizes and audience measurement. In Australia, the IAB endorses Ipsos as preferred currency, and before that Nielsen.In CTV (connected TV) though, in Australia and around the world, there's no such consensus. That includes Foxtel at the centre of a coalition of streamers pushing for a solution from Kantar, while OzTAM, owned by Seven, Nine and Ten, takes a different direction with VOZ (Virtual Australia).Then there's the issue of global platforms who want to apply their own measurement and standards to their walled gardens, which tends to deliver them the results they want.Today's podcast guest is IAB Tech Lab's New York-based Tony Katsur, talking to Unmade's Tim Burrowes. Katsur be speaking on standards at the IAB's Leadership Summit in Sydney on November 20.Katsur is a veteran of the digital advertising economy having worked for some of the industry's formative players including DoubleClick, MediaMath and Rubicon Project before joining IAB Tech Lab three years agoIn the wide ranging conversation, Katsur describes himself not so much as a sherrif of what was a wild west, but a constable, imploring his constituents to do the right thing.On CTV he observes: “There are companies that may believe that they're a walled garden, but they're not. Therefore they think they can go it alone with their own proprietary forms of measurement.“There are a lot of companies out there that think they're a bigger deal than they are, and think they can measure themselves or have their own proprietary measurement standard.”Among the other topics discusses are the threat that the large language models of AI pose to the intellectual property of media owners; why data provenance will be the key phrase of 2025 and 2026; whether the preparation for cookie deprecation that never came was wasted effort (he argues not); and reasons to feel optimistic for publishers.* Tony Katsur will be speaking at the IAB Australia Leadership Summit on November 20Unmade Index hovers over the trapdoorThe Unmade Index slipped to within a fraction of a percentage point of a new all-time low yesterday. The index, which plots the movement of Australia's ASX-listed media and marketing companies, lost 0.51%, to land on 437.7 points. It's previous all-time low of 437.4 points came six weeks ago.The index was pulled down by shifts at the top of town, with Nine losing 1.3% and its majority owned real estate platform Domain dropping 1.7%. Nine is now trading at its lowest point since April 2020.It was a better day for the audio players, with ARN Media gaining 2.8% and Southern Cross Austereo up by 3.1%.Today's podcast was edited by Abe's Audio. The Unmade team are all in Sydney today for our Unlock conference. And we'll be back with a text-led edition tomorrow.Have a great day.Toodlepip…Tim BurrowesPublisher - Unmadetim@unmade.media This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

Welcome to an audio-led edition of Unmade. Along with revealing the lineup for the Brisbane edition of our Compass event, we today feature an in-depth interview with Mark Frain, CEO of Foxtel Media, recorded around last week's Upfront event. Plus, a further dip in the Unmade Index.If you've been thinking about upgrading to an Unmade membership, this is the perfect time. Your membership includes:* A complimentary ticket to all of Unmade's events, including Unlock (October 31), Compass (across November), HumAIn (Q2 2025) and REmade (Q3 2025);* Members-only content; and all of our paywalled archives;* Your own copy of Media Unmade.  Budget Direct Chief Growth Officer, Nine MD, Publicis strategy chief and comms veteran to bring Compass to Brisbane Cat McGinn writes:We can today reveal the leadership panel for the Brisbane Compass event, Unmade's annual industry meet-up, this year taking place in six states. The panel features Jonathan Kerr, Chief Growth Officer of Budget Direct; Michael Crutcher, PR professional and former editor of the Brisbane Courier Mail; Simon Murphy, chief strategy officer for Publicis; and Kylie Blucher, managing director of Nine Queensland & Northern NSW.The panel will be moderated by Unmade's Tim Burrowes and the discussion will later be featured as an Unmade podcast.Unmade's paying members are entitled to a complimentary place at Compass, and tickets are on sale here.Unmade's Compass roadshow takes place across six states.* Wednesday November 6 - Hobart, The Hope and Anchor;* Tuesday November 12 - Brisbane, The Prince Consort;* Wednesday November 13 - Sydney, The Sporting Globe;* Monday November 18 - Perth, The Globe;* Tuesday November 19 - Adelaide, Elephant British Pub;* Wednesday November 20 - Melbourne, The Garden State Hotel.‘We agitated for change and we didn't get the answers we were looking for': Why Mark Frain created the VFCFrom his opening words on stage at last week's Foxtel Media Upfront event, it was clear that boss Mark Frain hasn't made peace with the decision made by Seven, Nine and Ten to refuse him a place at the ownership table for measurement system OzTAM.Instead, he has gone it alone, with Foxtel building its own measurement system powered by Kantar, and inviting a coalition of streamers to join them in the Video Future Collective.Frain sees it as the free-to-air networks' loss: “It's been cathartic” he tells Unmade's Tim Burrowes. “We did request to become officially part of OzTAM from a shareholding perspective. We also discussed the opportunity to provide our data to that business where we thought we could enrich and improve the service. And unfortunately, the shareholders said no. So from there, that forced us down a different direction.”The biggest downside of the schism is that for media agencies and brands they now have a second measurement system to contend with. Frain is unapologetic. “Any change causes some unrest”.This new direction includes the creation of a coalition of streamers under the banner of the Video Futures Collective, chaired by Foxtel's Toby Dewar. Alongside Foxtel, the VFC membership now consists of Amazon Advertising, Disney Advertising, Samsung Ads, SBS On Demand, Vevo and YouTube. Frain says, pointedly, “Everyone's got an equal share of voice.”* Declaration of interest: Foxtel provided my travel and accommodation for the upfront event, and they've been advertising with us this week. The podcast interview was not part of any commercial arrangement.Unmade Index continues downwards driftTim Burrowes writes:The Unmade Index's slow stall has stretched into a week after losing another 0.74% yesterday. That followed a drop of 0.73% on Tuesday. The Unmade Index, which tracks Australia's listed media and marketing companies has been losing ground since last Tuesday. It closed on 444.7 points last night.Yesterday saw Vinyl Group grow by 4.6% to a market capitalisation of $111m, just behind Southern Cross Austereo's $112m.Ooh Media's slide also continued, losing 2.5% yesterday to land at $641m. The company has lost nearly 9% over the last month.Today's podcast was edited by Abe's Audio. We'll be back with more tomorrowHave a great day.Toodlepip…Tim BurrowesPublisher - Unmadetim@unmade.media This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

The likes of CommBank, Westpac, Suncorp, McDonald's and KFC are showing the rest of the market how to do women's sports beyond just slapping on a logo – and it's paying off in spades, according to GroupM Chief Investment Officer Mel Hey and Foxtel Media Head of Sport NSW, Caitlin O'Meara. But while existing men's code sponsors are migrating spend into women's sport, the broader market remains behind the curve – despite significant growth in both female and male audiences. According to O'Meara, audience numbers for AFL W and NRL W last year climbed 28 per cent and 43 per cent respectively when measured via Kantar versus OzTam's panel (which “probably wasn't a true representation,” per O'Meara). The average audience for NRL W is now 55,000 she adds, with the higher audience figure helping women's codes attract greater sponsor funding as a result. Interestingly, consumption of the women's codes on Foxtel is more linear than streamed – up to 60 per cent linear versus an average of 25 per cent in men's sport. “There is still a big opportunity for more brands to get involved,” says O'Meara, especially as the women's codes are adding more rounds each season. She says it's still a relatively low-cost entry point for brands increasingly keen to be part of cultural moments that sport provides – and bring those stories to life, from the top teams down to the grass roots, building mutual brand, code and audience growth along the way. For brands now weighing up women's sport sponsorship, Hey says they could do worse than lift the templates built by the likes of CommBank, Westpac and Suncorp. “They have to make sure they're showing up with authenticity and going beyond just taking a sponsorship and a logo. They should be looking at how they can actually integrate and grow the sport and the players within the sport beyond just the game.” Hey sees a shift now underway as brands aim for new growth opportunities outside more “cluttered” environments – and suggests women's sport is one of the safer bets amid current market flux. “From a pure numbers perspective, sport actually provides consistency and reach. It's actually the one area, whether you're talking linear or streaming, that provides a consistent and engaged audience.”See omnystudio.com/listener for privacy information.

Topics:  - Finals Predictions revisited - The lopsided Roth vs Vickerman record - JJ's road to the Championship - Jack McVeigh = Finals MVP - Did Melbourne crumble in fourth quarters? - Contract situations going forward for MEL and TAS - The NBL's expiring TV rights deal - FOXTEL's switch from OzTAM to Kantar TV ratings systems - A final farewell from NBLPP for NBL24 #NBL24 #EveryMomentMatters #MelbourneUnited # IllawarraHawks #PerthWildcats #TasmaniaJackJumpers Patreon: patreon.com/nblpocketpodcast Twitter: Joseph @nblpocketpod Mastodon: Andrew @canion@social.lol | @nblpp@nbl.social Booktopia: https://booktopia.kh4ffx.net/c/2324741/607517/9632 Website: https://www.nblpocketpodcast.com Discord: https://discord.gg/bnqSYK4C

Karen Halligan is the CEO of OzTAM, the company that measures Australian television audiences. OzTAM is independent, but is owned by three fierce rivals: Tv networks Nine, Seven and Ten.This week OzTAM changed the way audiences are measured in Australia, bringing it into an age of catch-up viewing and online streaming. Karen Halligan talks to Sean Aylmer about the changes, and why it matters to TV networks, advertisers and audiences.Find out more: https://fearandgreed.com.auSee omnystudio.com/listener for privacy information.

t's the most fundamental change in OzTAM reporting since it began over twenty years ago...so what does it all mean?!TV Blackbox the podcast is back for 2024 with a special edition from TVBB editors Rob, Kevin, and Molk to discuss the changes for OzTAM reporting that start Monday 29 January 2024.Out with the old, and in with the new - all the old reports (and data!) are gone, expunged from the OzTAM website, in preparation for two new daily VOZ Total TV reports landing at 11:35am, and an additional new weekly report.Also, no more subscription TV data at all (Foxtel will create and deliver their own reporting this year).Is it good for the industry? Is it shifting deckchairs on the televisual Titanic? Can this help return some positivity to an industry already feeling fragmented by changes to audience viewing patterns and having them bounce around between eleventy-seven subscription streaming competitors?So, here's your lowdown on the changes, and our views (for good and for ill) on what they mean for our much-loved Australian TV industry. TV Blackbox the podcast is back!Support this show http://supporter.acast.com/tv-blackbox. Hosted on Acast. See acast.com/privacy for more information.

Figuring out where potential customers are in the hectic media system and not waste budgets reaching them across disparate channels is driving marketers and media agencies to experiment with some interesting alternatives in cross-media audience measurement. Kmart, its agency UM and IPG tech stablemate Kinesso, think they have landed on a winner – Beatgrid's automatic content recognition phone-based panel.  Beatgrid counts the likes of Amazon, Google, P&G, Unilever and Virgin as clients. The firm's tech measures TV, digital video, audio and even out of home audiences, as well as in-store footfall. Plus its panel of paid-up and consented humans is doing away with the guesswork of brand uplift studies. Which is why Kinesso Digital Strategy Director, Charlie Allatt, convinced UM's Group Director for Kmart, Adam Russell, to trial the tech. By making “inaudible pitch shifts” to creative across different screen types, “the system can unwind whether people are being exposed in a particular channel,” says Allatt. For Kmart, the two launched the trial across linear TV, BVOD and YouTube – which siloed measurement systems can't do in one hit. Then they ran the numbers against Google's DV360 DSP for YouTube ads, and against OzTam's data for linear TV and BVOD. “Both channels tilted very, very closely to the Beatgrid numbers,” says Russell. Plus, using Beatgrid's location data, they could map the ads served to Kmart's in-store footfall. “We could see the difference of people who, within a two-week span, had seen an ad and then gone on into a Kmart store versus people who haven't seen an ad,” says Allatt. “We could directly measure that uplift in real time, specifically broken down for each channel.”  Kmart must “demonstrate every day that we are [reaching customers] really efficiently, ensuring every dollar we invest is performing,” says GM of Marketing Rennie Freer. The Beatgrid trial, “was a great opportunity to do that,” she says, “because if we're saving dollars here, if what we're doing is really delivering the efficacy we need, we can reinvest in new channels.” As cookies disappear and privacy laws tighten, Beatgrid's founder Daniel Tjondronegoro and Australia GM Cameron Curtis think single-source panels are about to have a major renaissance.See omnystudio.com/listener for privacy information.

Welcome to an audio-led edition of Unmade.After the most gruelling Upfronts season yet, we wrap things up with the people whose verdicts matter - the media agency chief investment officers. Plus, we speak to SBS managing director James Taylor about the series of agenda-setting announcements made by the public broadcaster.The most interesting, most unexpected and most meaningful upfronts - plus, who put on the best show?Upfronts Season finally ends this afternoon, with the ABC announcing its content plans for 2024.It's been the longest one ever, kicking off during the first week of September with Nine's Olympics-focused Upfronts taking over both the Hordern Pavilion and Hall of Industries in Sydney's Moore Park, while Mamamia staked its claim as the primary conduit to reach women at an event at Doltone House in Pyrmont.The next week came Independents Day, organised by the Digital Publishers Alliance with more than 20 members offering rapidfire presentations at The Grounds in Alexandria.The same night it was back to Hordern Pavilion, where Google's YouTube made the case for switching advertising dollars out of television during Brandcast.The following day, magazine house Are Media hosted buyers for a more modest lunchtime event at the new wing of the Art Gallery of NSW, turning on the star power with an appearance from Matilda's penalty scorer Cortnee Vine.Then in October it was on to the Beta events space in Castlereagh Street, as Carsales extended its Open House event from their Melbourne base into Sydney.A few days later, Seven puts its weight behind SXSW Sydney, returning to the ICC for its Upfronts, executive produced by chief marketing and audience officer Melissa Hopkins.The next week saw Ooh Media and Foxtel Media both put their events in the hands of the weather gods.Ooh's Outfronts trip to Sydney's Royal Botanical Gardens was rewarded with a scorching summer's morning. Foxtel's boat ride to Cockatoo Island on Sydney Harbour was a damper affair, although its blockbuster announcement of a breakaway audience measurement project wiped that from the memory.Meanwhile, Paramount took a different approach to its Upfronts this year, taking the lead from its sister network in the United States, CBS, hosting smaller groups to talk about plans for Ten, Paramount+ and Tenplay, followed by Q&A sessions.Between them, the media companies would have spent well in excess of $10m on letting the industry know their plans. So who told their stories best? We asked the media agencies' chief investment officers.GroupM CIO Melissa Hey, Spark Foundry CIO Lucie Jansen and Essencemediacom CIO Nick Thomas offered their takeaways in a special edition of the Unmade podcast hosted by Tim Burrowes.Who exceeded expectations?Foxtel's challenger measurement system for OzTAM drew praise.“I'm pretty excited about what Foxtel's doing, just disrupting the industry and leading from the front, giving our clients and us as an agency so many opportunities to change the way that we've been approaching video,” Thomas shared.“Paramount surprised me the most because I thought that you actually did get a lot more out of it. You go into it wondering how they're going to wow you in this small setting and I walked away very impressed and engaged with what they had to offer and what they're putting on the table because of that intimate setting, and because we were able to ask questions and interact. They were answering questions that were being asked versus just going up on stage,” Hey says.Thomas agrees: “At the big parties, you're never going to get that honest, direct conversation and feedback loop that you're going to have in the smaller groups.”Sport was pegged as one sector of the market that the CIO's were particularly excited about after seeing all the upfronts.“I think next year is going to be a really good, good year for sport. 2023, particularly with the Matildas, will only serve to help audiences in that space as well. Obviously, that probably plays more to the strength of Seven and Nine,” Jansen concludes.Most meaningful technology announcementA selection of new adtech products were rolled out at each network's upfront - Seven's Phoenix, Nine's SME-focused Ad Manager, Paramount's Shoppable TV and SBS Measure.Hey argues that Phoenix “will be really important and a game changer on how we operate with Seven.” She adds: “What is actually interesting and how it's going to roll out and impact for the future is Nine's Ad Manager. Whilst they're saying it's for SMEs, how they're setting that up and using AI feels just the start of the journey.“Thomas was excited about Ooh Media's 2024 prospects and its new retail media screen network solution, Reooh.“I think the premium Sydney product was a good strategic play to compete with the JCDecaux's and QMS's that are playing in the premium Sydney audience already. Everyone's talking retail. I think next year will probably be the year of retail. If you were a business and you wanted to set up a retail network, it's a plug and play product that you can use, which is great.”‘We might be the first moving in this direction. We don't believe we'll be the last'SBS' upfronts came just after the podcast with the CIOs was recorded, so Unmade sat down with managing director James Taylor to get a better understanding of the broadcaster's strategies and content slate for 2024.Key announcements from the SBS Upfront included limitations on betting, booze and fast food ads, progress on sustainability promises, another season of Alone Australia (this time shot in New Zealand) and retaining the men's FIFA World Cup.“We believe the purveyors of all products have a right to access audiences, particularly via a public broadcaster,” says Taylor. “This is, though, about providing value to both audiences and advertisers. If you think about on-demand environments generally, and SBS on-demand specifically, users are able to exhibit complete control over what they watch.“Therefore, we want to extend that capacity to allow audiences to express a view about the advertising component as well. We might be the first moving in this direction. We don't believe we'll be the last.“We think these three categories are a logical place to start. It's great for the audience because they get to provide us with information about their choices as opposed to us determining what we think they want.”Taylor also expanded on long term plans to help bring the entirety of the SBS supply chain to net zero over the next 20 years.“We rely on third parties and their carbon footprint to reach an audience member. So the timeline we've laid out, which is an aggressive timeline actually, and the most ambitious of any media player in the country, is really about us working with our supply chain to assist them in decarbonising their footprint.”SBS Measure, which uses Experian data, was the new adtech product rolled out at the upfront. Taylor explained the product was a way to “reinforce our credentials as a place that is worthy of our customers' investment.”And Taylor also explained why SBS is backing Foxtel's breakaway TV audience measurement project.“There's nothing lacking with Oztam from my perspective, we remain committed and enthusiastic participants in Oztam. We back the currency. We think it's a well-needed and welcome development in free-to-air's capacity to create a compelling offer to advertisers. That said, SBS is not a market maker. It's a market taker. We participated in a market. You should expect us to be inquisitive about other marketplaces that other providers are seeking to establish, so that we can form a view about whether or not SBS has a place in their marketplace.”* The entire podcast can be heard via the player at the top of this page or on the podcatcher of your choice. Special thanks to Abe's Audio for a great job on a complex edit.Message us: letters@unmade.mediaHave a great day.ToodlepipTim BurrowesPublisher - Unmade This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

After attending both the Foxtel and SBS Upfront events on his lonesome, Molk reflects on the announcements - corporate and content - and the general vibe of both events (which were very different - one at night, one in the middle of the day).There's lots to unpack, from Foxtel's launch of Project Magneto--now Hubbl--and their move away from OzTAM ratings, to SBS's opt-out feature for sports betting/alcohol/fast food advertising on SBS On Demand and their Net Zero challenge to the rest of the Aussie media industry. Plus, both have sizeable content slates to discuss that are heavy with Aussie drama, light entertainment, and documentary...and both focused very heavily on their respective streaming solutions.At the SBS event, Molk also spoke with Kathryn Fink (Director of Television) and Aunty Rhoda Roberts AO (Indigenous Elder-in-Residence) about their roles within the organisation and particularly Aunty Rhoda's vision for the Calling Country opener to the event - which she also arranged for Nine's Upfront event.Support this show http://supporter.acast.com/tv-blackbox. Hosted on Acast. See acast.com/privacy for more information.

11 October 2023 We're in the final few days of campaigning before the Voice referendum - can last minute advertising really sway votes? Also today: The chair and three directors to go in a major board shakeup at Qantas OzTAM appoints a new CEO And what Nick McKenzie and Joe Aston - two of Australia's best journalists - have in common Join Michael Thompson, Sean Aylmer & Adam Lang for a look at everything under Australia's media and marketing umbrella.

Welcome to Start the Week, our Monday scene-setter for the week ahead.Today:* TV industry finally gets its 3D view - but will it be enough for Foxtel?;* Pedestrian launches a TV channel;* How streaming quotas will work;* Will Eddie McGuire take a bigger 3AW gig?;* Google's smart speaker switchoffToday's episode feature Tim Burrowes and Abe Udy.Further reading:* Australian Financial Review: Television ratings overhaul took too long, OzTAM boss concedes* Australian Financial Review: Pedestrian.TV, again* Sydney Morning Herald: How Netflix, Amazon may be forced to make more Australian programs* The Australian: Eddie McGuire to fix 3AW's Dan ban?* The Australian: Commercial Radio and Audio boss says Google was ‘asleep at the wheel' over radio outageTime to leave you to start your weekAudio production was courtesy of Abe's Audio, the people to talk to about voiceovers, sound design and podcast production.Message us: letters@unmade.mediaTim Burrowestim@unmade.media This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

Welcome to an audio-led edition of Unmade.TV's inflection point is coming. Any time now (or maybe it happened in the last few weeks), the proportion of the Australian population who watch television the traditional way will fall below half for the first time.But as fast as traditional ways of watching are falling, new viewing habits are forming - or that's what the data in Think TV's regularly produced Fact Pack suggests.Analysis of OzTam data for the second half of last year by Think TV suggests that commercial audiences are on the move - from television consumed via their aerials, to video streams.In today's Unmade podcast, Tim Burrowes talks to Think TV's director of research, insights & education Steve Weaver and to the organisation's CEO Kim Portrate about the meaning behind the numbers.In the first half of 2022, just over 14.1m Australians - or 54.3% of the potential viewing population - were watching TV and only doing it the linear way, via their aerials or Foxtel dish.By the second half of 2022, that number had fallen to 13.3m, or 51%.A question Portrate and Waver address during the conversation is whether in the early months of 2023, we have since passed the inflection point, and less than 50% of Australians are now watching TV the old-fangled way.Also revealed in the data is that in the first half of last year, 3.6m (or 13.7% of the population) were watching commercial TV on a combination of linear TV or via streaming. That rose to 4.1m, or 15.6% of the population, by the second half.The number of people giving up on their aerial or dish to watch broadcast TV only via streaming also rose sharply - from 1.5m to 1.8m. With some smart TVs, the viewers may not even have realised that's what they were doing.Reassuringly for the TV industry, the jump in streaming viewing seems to be going up almost as fast as the linear switchoff is occurring. Total reach across linear and BVOD (broadcast video on demand) only dipped from 19.23m to 19.17m, a fall of just 0.3%.It's worth noting that all of the analysis is based on OzTam data which only covers Australia's broadcasters, not streaming-only platforms like Netflix or Stan.During the wide ranging conversation, we raise the issue of the TV industry's slow implementation of a daily total viewing number to move away from the fast-fading overnight metro metric.Portrate says that will happen this year. In the conversation she was also challenged to predict how long until the TV transmitters can be turned off altogether as streamign becomes the only means of viewing. It might be sooner than you think. And we canvassed both Weaver and Portrate on whether the likes of Netflix would be welcomed onto OzTam in the same way the streamer has been allowed onto the UK's audience measurement service.The full Fact Pack is available on the Think TV websiteTim BurrowesPublisher - Unmadetim@unmade.media This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

Australia's AVOD wars are heating up. Foxtel Media boss Mark Frain reckons “tens if not hundreds of millions of dollars” will move in the next 12-18 months. User experience will win, making ad loads and frequency capping a key battleground. Razorfish boss Jason Tonelli warns that presents a new problem for publishers: As users hop from one service to the other, how will BVOD and AVOD players collectively manage frequency capping? “That will be the next frontier”. Brands are hungry to test the waters, adds Tonelli, with early adopters lenient on measurement. But down the track, measurement will need to be robust. “Is it OzTam or not? That is a debate we have to have.” Foxtel's Frain says sitting outside of OzTam hasn't stopped Foxtel writing revenue on Kayo. Ultimately, per Tyler Fitch, head of Advanced TV & Partnerships at Tubi – which has amassed 50m AVOD subscribers – breadth of content, personalisation and UX will determine winners from losers. He thinks the former SVOD purists that once “scoffed” ad ad-funded models have some hard lessons ahead.See omnystudio.com/listener for privacy information.

There's $40k up for grabs from Amazon, Nine's doing a big tennis deal and there's an announcement that will change TV Blackbox forever. So, just another week really!In this episode: 1.42 - OzTam announces changes to the ratings system for 20238.21 - Nine's $500m deal with Tennis Australia12.08 - The TODAY show forced off-air due to technical issues20.26 - Amazon Prime video offers $40k for three months just to watch TV26.50 - Rob's bits 'n bobs - The 9pm Pitch the networks rejected51.01 - Hatches & Dispatches54.03 - TV Bingebox1.03.25 - Group Binge: My Mum, Your Dad (Channel 9) & The Mole (Netflix)1.10.16 - Big announcementGroup Binge next week: The Crown S05E01 (Netflix)Support this show http://supporter.acast.com/tv-blackbox. Hosted on Acast. See acast.com/privacy for more information.

Today's topics:Royal funeral set to be most watched TV moment of all timeAnalysing Nine's Upfront announcementsThe ratings week (and Ten's Saturday problem)The perfect Grand Final lineup for SevenStreaming loophole extendedPay rise pressuresToday's episode features Unmade's Tim Burrowes and Damian Francis. As always, we'd love to hear what you think at letters@unmade.mediaFurther reading on today's topics:WA Today: The Queen's funeral may be the most-watched event in historyABC News: Queen Elizabeth's state funeral is today. Here's how to watch, when to watch and what to expectUnmade: Nine Upfront verdictWeekly ratings: OzTam ratings analysis via NineThe Australian: TV execs cheer the red and the white as Sydney Swans beat Collingwood in AFL thrillerAustralian Financial Review: Key streaming loophole extended for another five yearsThe Australian: Federal government extends ‘Alston Determination' for streaming servicesUnmade: Ask for a pay rise Audio production on Media Unmade was courtesy of Abe's Audio, the people to talk to about voiceovers and sound design for corporate videos, digital content, commercials and podcasts. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

In the six months since VOZ launched, giving a look at unduplicated viewers on linear TV, online streaming and catch-up services, dozens of agencies and hundreds of brands have started using its data – but the networks say there's still a way to go (and myths to be busted). Nine's Richard Hunwick says “streaming choosers” are a new category of streaming-only viewer, which ThinkTV CEO Kim Portrate says includes the light viewer – like young people and women. Seven's Craig Johnson says a lot of marketers are still buying TV in silos, and some agencies are using their own data, which lacks the competitive tension of the three major broadcasters keeping VOZ unbiased. There are seams of gold, too. Five of the top 15 BVOD programs last year were on demand first or exclusives like Love Island UK or Survivor South Africa, 10 ViacomCBS's Gareth Tomlin says. ThinkTV and OzTam say TV blows YouTube out of the attention water. See omnystudio.com/listener for privacy information.

Welcome to the Unmade podcast.Today's guest is Rod Prosser, chief sales officer at ViacomCBS, parent company of Network Ten.In today's conversation, Prosser reflects upon his turbulent decade at Ten, the difference on-demand viewing is making to the linear TV equation, and his bullish prediction for 2022 revenues.And he also reveals that Pluto TV - the ViacomCBS-owned ad supported video streaming service - is just months away from an Australian launch.You can listen to the Unmade podcast via the player in this post. Unmade is also now available on all the major podcast apps.Transcript:Tim Burrowes (00:04):Welcome to the Unmade podcast. I'm Tim Burrowes. Well, we made it to the end of the official TV year. My guest today to talk about it is Rod Prosser, chief sales officer of ViacomCBS, who listeners will know best as the American based owner of Network 10. Welcome Rod.Rod Prosser (00:24):Hey Tim, how are you?Tim Burrowes (00:25):Mate, I'm very good. Thank you very much.Rod Prosser (00:28):Great. Great. Look, before we start, I'd just like to do a acknowledgement of the country if that's okay. I'd like to thank and acknowledge the traditional owners of the land, which I meet with you on today and pay my respects to the Elders, past and present.Tim Burrowes (00:44):Well, thank you for that and for doing the honours. Now I was looking on your LinkedIn profile. Next year, you'll mark a quarter of a century in media sales, almost all of it in television. Now that includes ten years with Nine, a couple of years in magazines with ACP, and a dozen years with Ten. I was thinking, you arrived just after CanWest had sold. Then there were a couple of years of relative stability on the ASX before things got a bit wild again when James Packer and Lachlan Murdoch invested. Grant Blackley was sacked as CEO a few months after you joined, James Warburton a couple of years after that, then there was the administration and being bought by CBS, which then merged with Viacom. Then COVID in 2020. Now, most people are going to look back on 2021 as an eventful year, but for you, I'm guessing it was kind of business as usual.Rod Prosser (01:44):It doesn't sound like there was a lot of stability, does it? Look, I think that COVID thing has been interesting. Certainly the journey Network 10 has been on over the last decade has been an interesting one and well documented. Look, I think my personal view is, is Ten has come out much stronger for all the changes and things that went through. But yeah, look, it's been an interesting ride and a really great one for me too, because of obviously through that period, as you just rightly pointed out, there's been obviously quite a number of various CEOs and leaders and I've been fortunate enough to work with them all and you learn good and bad from people. So I was really fortunate across the last decade with Ten and the number of changes that went through.Tim Burrowes (02:36):Well, one thing that interests me is now we've got this wider group. So we are two years into the merger or the re-merger, of Viacom and CBS. And it's starting to actually feel more like a group, even in Australia. You've got the former Viacom channels of MTV and Nickelodeon. Then in August we saw the launch of Paramount Plus. Do you wake up thinking still at heart you work for Ten, or do you actually feel like you're in a bigger group now?Rod Prosser (03:07):That's a really great question, Tim. The truth is we all wake up now feeling part of a bigger group because the integration that's happened over the course of, really, the last two years. With CBS, yes, we reported into the domestic business and that was fantastic. There was some great leaders in the business, and then obviously the Viacom CBS merge took place. That really defined, I think, us as part of being part of... We're of a global business, but a really strong connection into the international clusters. We are obviously falling into international, and our headquarters, if you like, is based in the UK. But within that cluster, there's Canada, there's Israel, there's obviously the UK and Australia. So we certainly get the sense that we're part of 1) a global business, but 2), as you rightly point out that the platform and the assets have really expanded. So we represent all the sales team represent all of our brands and assets on every platform. So we simply just can't wake up and think about Ten anymore. Otherwise, we'll be missing a trick or two.Tim Burrowes (04:22):Then I'm sure one of the challenges for you of course, is pretty much for the whole time that there's been this merged organisation or certainly the vast majority, you've been out in the office as well. So just having the opportunity to build a team culture must have been quite different.Rod Prosser (04:38):I think the culture part is really interesting, and I think that's something that not just our business, but most businesses would've struggled with over the last two years. We were quite fortunate in Australia that the vast majority of the team were already settled and part of Ten, I think the big emphasis that we needed to put on was really the newcomers that were coming into the broader business from Viacom. And indeed just more recently Paramount Plus. So I'm sure as soon as we're able and can get back into the office, there'll be a lot of social activity happening to really build that culture.Tim Burrowes (05:21):Let's talk about the programming year just gone. For you, what are the hits and highlights, and what are the ones where you think ‘We didn't quite get there on what we promised the market'?Rod Prosser (05:38):Yeah. Look, I'll start with how we're going to start next year, which is with I'm A Celebrity. That show has really redefined summer, as far as I'm concerned. For so many years, Tim, as you know, we were so heavily focused over that period just on sport and or with television, which was pretty bad when you look back at it now. We simply just dumped repeats across the summer period. As you know, we now work in a full year cycle. We don't just work to the ratings week. So we schedule for the full year. With having I'm A Celebrity there from the starting blocks and building that kind of momentum in the audience and creating a significant launch pad, for us, it's been such a terrific selling opportunity.Tim Burrowes (06:36):With Celebrity, obviously this year not being able to go overseas for it, did that make a difference, do you think?Rod Prosser (06:44):I actually, from our point of view, it's better from a commercial point of view, because obviously traveling product, locally or domestically, is a lot easier than getting it overseas. Now the programmers might think something different, but certainly from our point of view, it didn't impact the writings whatsoever. It was, as I said, a lot easier to integrate our sponsors.Tim Burrowes (07:09):Well, one of the ironies is last week is, I'm speaking to you from the UK, where there's the UK version of I'm A Celebrity which wasn't able to come to Australia to film and they lost four days of live programming to storms. So I guess one of the things Australia has is at least slightly more reliable weather.Rod Prosser (07:29):That's very true, and plenty of creepy crawlies that still build a lot of fear into the celebrities.Tim Burrowes (07:39):So. Okay. And going back to looking back at the year, so you are happy with the start to the year with I'm A Celebrity. How do you feel it unfolded from there?Rod Prosser (07:51):Look, the start was excellent, it always builds that momentum for us, as I said. Obviously we had some nuances in our schedule this year because of Covid. One of those being Survivor ran later than it would normally. Thankfully, because I think it gives us great momentum, even though the Amazing Race did amazing things, Survivor moving back into its home in post-Celebrity, the right place.Tim Burrowes (08:19):Yeah. Because you were hoping for two seasons, weren't you of Survivor, initially?Rod Prosser (08:23):Yeah. I think we sort of decided that, but well look, we often ran two in a year, I think this year we went back to... We could only do one, so we only ever scheduled the one, but it had to run later just because of timing and Covid and we had to obviously pivot it originally. Traditionally we shoot it in Fiji. Obviously it was then housed in Queensland and will be again. So we do have to pivot, so yes, we may have had thoughts around how could we run too, but I think the idea is always just to have one series running a year, because it's a heavy production. So having that back into its original slot, if you like, is going to continue that momentum straight into mastership. So I think as you look at the highs and the lows, there's probably some key franchises that we're disappointing. But having said that, I think that in terms of numbers, having said that commercially all of our big Ten poll programs have been a success.Rod Prosser (09:26):I think that any franchise kind of gets to a point where it needs to have be somewhat reinvented. I think certainly the programmers are looking at what franchises need that sort of freshening up. The other thing that we were challenged with this year was various lockdowns. I think all networks suffered slightly from people being... Well, actually gained some upside with people being locked into their house, obviously, but obviously when freedom was given to people, they were out and about. So we did have some impacts around timing, some of our franchises. So it's probably not fair to look at the pure thousands as success or not success because it really was quite an unusual year.Tim Burrowes (10:11):Maybe when we talk about sort of a series which certainly were perceived to underperform in numbers, we might find ourselves talking about The Bachelorette. Before we do, in context, what I found really interesting about Ten this year was, if I think back about its various presentations to the market, it gave a great deal of thought to how it positioned itself. There were two messages I was left with. One was Under-50s and the ironically disputed word “undisputed”. And the other thing was the message about being the most progressive of the commercial networks when it came to things like being the... I'm pretty sure the first network to do a Welcome to Country before the U pfront, for instance.Tim Burrowes (10:59):So I suppose when we think about The Bachelorette, the first bisexual competitor, for instance, it clearly played a bigger role within the position of where the network wants to be seen, and where it wants to be seen in the national conversation. How did you feel about the numbers? I guess my question really is, are you taking middle Australia with you, or are you slightly too far ahead of them at the moment, do you think?Rod Prosser (11:35):Look, regardless whether we're slightly ahead of them, I think you've got to take a stance. Our business really is a value driven business, both locally and globally, and we just continue to strive to do better and make positive changes in the world we live in. We're acutely aware that we have a platform and a voice that reaches globally over four, 4.5 billion, but obviously locally you know our numbers... And that comes with a responsibility. It's our job to raise the bar, not lower the conversation. I think that we will continue to make sure that we have a diverse representation onscreen and behind screen. To be honest with you, The Bachelorette, we were super proud of. I know the brands that leant in and sponsors were equally proud of it because of what it stood for.Rod Prosser (12:29):I think that we need to have, the measurement is, and the thousands is one part, but then there needs to be, which I keep pulling out to the industry, we need to have another measurement. And that simply has to be: what's the diversity on screen? You make a good call because it is a fine balance, but ultimately if it's good TV and it represents all of this country and all the different faces and all the different genders, then you should have a winning model. So I'm sure and confident that we'll continue to be able to deliver that and continue to be able to find an audience that follow it.Tim Burrowes (13:17):One of the other questions, for television on any network at the moment is, we're seeing overnight broadcast numbers go down. There's no doubt about that. This year, for the TV industry as a whole, and of course this was also the year that VOZ launched, which gives us a sort of wider picture. How does that affect the conversation that you have with the advertisers and the media agencies? Is it as easy to monetise catch up viewing as it is broadcast viewing? Or is there still some progress to go on that too?Rod Prosser (13:59):Look, there's a lot of demand in catch-up. I would say that. So we call it on demand, not catch-up anymore. So with our BVOD product, the market is quite hot and we'll continue to see significant growth. The question I think you're asking is can we make up the revenue on the BVOD as we have declining audiences on linear? The answer to that is yes. We will be able to, and of course live TV is enabling us to monetise even further, but that's why the whole ecosystem's really important for us. We call it our playground, but how we push and pull the audience around our playground, if you like, is really critical.Rod Prosser (14:49):Of course, Paramount Plus plays into that. We will soon launch another AVOD service in this market. Obviously we've got a fairly significant AVOD service being Pluto TV that's being rolled out globally, and that will equally play into it. So I think it's actually about how do you sort of manage both linear and digital together? At some point, the digital revenue will outgrow the linear, but at this point it really is, Tim I hate to use this term, but it's the meat and potatoes and drives the biggest part of our revenue. So it's super important to us. We'll continue investing in the linear. You'll continue to see high quality good content being produced for the linear screen, but equally next year we'll grow our library on 10play. So there's a lot of investment going in there as well.Tim Burrowes (15:42):For people who aren't familiar with Pluto, which you just referred to, that's been a real phenomenon out in the US, hasn't it? So that effectively, as I suppose - tell me if I'm understanding it wrongly - but I'd see it almost as a sister service to Paramount Plus, but of course advertising supported, but quite a deep library, and it's been driving some quite big audience numbers. So we'll see that in 2022 here in Australia then, will we?Rod Prosser (16:12):Look, I'm probably letting the cat out of the bag a little bit here, but I'm not quite sure of the exact launch date, but one thing I can tell you is it's coming and it won't be too far off. We're not talking years off. So, obviously we've got to get other things ready and right. But it's certainly on its way to Australia at some point.Tim Burrowes (16:35):And that in much the same way that we saw 10 All Access become Paramount Plus presumably we'd see 10play become Pluto, would we? Or would it sit alongside the two?Rod Prosser (16:50):I'm not sure that's right, Tim. I think these are the new nuances and the structure that we need to look at, what's going to be best to serve our audiences and of course our advertising partners. So we haven't landed that yet, still a lot of work to do, but I can't see how they would merge, but at this point, look, we're really enthusiastic about the 10play product. So we, as I said, we'll continue to invest and grow that library to grow the overall minutes.Tim Burrowes (17:21):Now, something you touched on about the importance of live TV of course is arguably the two staples of live TV are sport and news. Arguably, if I had to pick the three sales directors, you've got the toughest job because you've got the least sport and arguably the least news resource as well. Is that a fair observation?Rod Prosser (17:45):I love being an underdog, Tim. It's the way we roll. Look, I don't see it that way. I mean, I'm sure others might, but I don't see it that way. I see we have such a huge opportunity with football, otherwise known as soccer in this country, but we're now the home of football and we position ourselves that way. We'll continue to grow that sport. Look, we always went into football knowing that it was such a huge opportunity to grow the sport. It meant a lot to us in terms of how that positions, it's really inclusive, it's diverse, it certainly stood for a lot of the things that we stood for, so it made a lot of sense. And of course it's a global game.Rod Prosser (18:34):So when we talk to our counterparts within the business, they understand the game. So it was really kind of a no brainer, but look, the opportunity for us is: it is the highest participated sport in this country. We turned that participation into viewers and they we're into winning gold. So, I think that's the opportunity. I wouldn't say that we've got the toughest job. We've had commercial partners come out of the wood works and wanted to support it and be a part of it. So we're enthusiastic about that. Obviously we've got some marquee events which are marquee events, but we've got the AGP, Australian Grand Prix, and indeed Spring Carnival week, which we've just, not too long ago rolled out of, which are huge ratings and money drivers for the business. Also, a lot of fun to attend.Tim Burrowes (19:31):With A League, I presume something like that takes a year or two to really get all of the sponsors aligned. So presumably these few months, we are not really seeing everything you'd hope to see yet in terms of support.Rod Prosser (19:45):Well, look, I think from sponsors, we've got the commitments and the categories that we were chasing. So I'm really pleased with where we've landed and we've actually exceeded expectations commercially. The journey now we have is to really get Australians aware that it's actually being broadcast and where it's being broadcast, obviously a lot of the games are on Paramount Plus. That's a really good subs driver for us, but equally we want to make it available to all Australians. So there's games on 10play. Of course, there's games on Ten as well. So we always knew it was a building journey with this sport, but we've been really encouraged with both A-League's ratings and of course the international games, they dominated the demos and have performed really well for us. But yeah, it's a long partnership. We've got five years, we've taken equity within the APL. So we're behind it 100%.Tim Burrowes (20:53):Well before we start looking forward to next year, a couple other bits of housekeeping. It seems like a million years ago, but I remember we were talking about how there was a plan to bring James Corden to Australia, your upfronts friend, James Corden who had done the opening video with him. Is that back on the agenda for next year, are you likely to get him out in 2022, do you think?Rod Prosser (21:20):We'd love to get him out, and I know James would love to come out. It's a logistic thing more than anything, obviously Covid has created the headache for us that made it not possible when we wanted to, but we are always talking to the guys at CBS on how we can make that possible. We haven't, obviously we haven't slated a date, but we'll continue to talk to him and find a way soon hopefully, Tim.Tim Burrowes (21:45):Well, yeah, let's talk about next year. One of the things which certainly makes life interesting for me to write about is it feels that of the three networks, Ten is the one which has got the most new formats coming through. Which is from your point of view, I suppose, both interesting and an element of risk because you haven't got the familiarity factor of an existing format just rolling out again. How are you thinking about the coming year? What sort of promises are you making to sponsors about audiences for some of the new shows?Rod Prosser (22:17):Yeah, I mean, we've spent a lot of time with our agency partners, our consortiums, as we call them. Indeed, our incumbent sponsors around where we're going to see the audience growth next year. We have growth built into our schedule, no question. We think a lot of things will be normalized next year, particularly as hopefully we roll into what will be a much more normal year, less impact from Covid. So we know that there's pockets and areas where we needed to focus on. I'll take Master Chef as an example. Obviously, that was in a very different position last year. Everyone was in their homes and the ratings went through the roof, great new format in terms of the way we positioned it, where all the ex-contestants came back. Indeed, we launched out our new judges, which we were so pleased we had such a fresh looking show.Rod Prosser (23:17):Then this year, obviously, as I said, nuanced because of lockdowns, et cetera, but we also knew that we needed to have a stronger hook. So next year we go into Master Chef with a lot of the ex-contestants, including Julie Goodwin returning to really challenge it out in the kitchen. So we know that we've got a lot of enthusiastic partners already wanting to come onboard and we know there's going to be growth in the thousands on that. So, that's a great example of about how we can tweak a format to really lift the audience. Then of course, as we get into the second half, and actually to be honest with you, our thousands in our ratings right in this period now have grown. So we're pleased about that. Look, the commitments we've made to our agencies in consortiums is around growth, and indeed both audience growth and commercial share growth. We are pretty confident around doing that.Tim Burrowes (24:20):I guess in terms of investment in new formats, Hunted would be the biggest one.Rod Prosser (24:24):Yeah. Look, firstly, I think it's really important that we keep delivering new formats. The audience, our audience craves for that. We talk about a progressive audience just rolling out a consistent schedule is great, but you also need to pepper that with new formats and something fresh, and our audience expects that from us. So, even if that's a show that sits at 8:30 at night, or if it's a big franchise, their expectation is that we'll deliver something fresh. Hunted is a great format that's worked overseas that we're really confident that will do great things out here. It's going to be shot in Melbourne, it's really fresh, it's really different and it's like nothing else that's on the TV screens at the minute.Tim Burrowes (25:17):What sort of age demographic do you think it will be attractive to?Rod Prosser (25:20):Well, again, acquisition models always around the Under-50s, and look, the bullseye will be 25-54. I mean, I think that's the interesting thing if you look at our schedule, Tim, from really from that 6:00 PM to 10:30, we have the highest concentration of 25-54s. Actually, most of the demos, we have 45% of our audience of half of our audience let's call it, sitting within the 25-54 demo over that time slot. Which is vastly different to our competitors, which some skew much older. Whereas, over 65s, we have such a small percentage within that time slot. So, Hunted and all our new formats are always targeted in the demos, they'll never skew old. I don't think we'd never get the older audiences anyway, even when we play Dancing with the Stars, which just does skew very old, we still had a much younger medium-age across that format.Tim Burrowes (26:29):I think if I remember rightly, I think you did even better again, proportionally, in 16-39 than 25-54, didn't you? I guess I always wonder why you don't just lean into that one a bit more.Rod Prosser (26:44):Yeah. Look, I think that's a really interesting demo. Of course yes, you're right, we do fare better. In fact, we kind of see it's around eight of the top 15, in 16-39s are on Ten. Look, the truth is, is that demographic is consuming content across a whole heap of platforms. We see a big surge, particularly in our on demand services of that demo. Of course in SVOD. Yes, you're right. Indeed, we do lean into it. It's around how do we capture them across all of our platforms to kind of pull them across the broader Ten, ViacomCBS assets.Tim Burrowes (27:30):Just to put this year's “undisputed” under-50s claim to bear. I get the sense you are explaining what you mean in a slightly different way now. Do you think, on reflection, maybe when you first went to the market with the “undisputed” under-50s network, you maybe went a little bit too far, do you think?Rod Prosser (27:52):No, I don't. I think we've always made it really clear that we have a higher percentage of the under-50s. I think it's amusing that we've been criticised around that because on one hand everyone's talking around hyper-targeting and they want less wastage. Then on the other hand, they're saying, "Oh, but a total people audience is the right one to look at." Buyers don't buy it like that, you know that Tim. They buy demographics and they target demographics. If we can deliver them efficiently without wastage, then in my mind, we are undisputed within those demos and within that demographic.Tim Burrowes (28:36):I did get a bit of a sense this year that maybe the different networks weren't quite as good at speaking with one voice about television. We saw, James Warburton from Seven came out and talked a bit about how the industry as a whole should be talking about overnight ratings, versus later ones, and there was some debate there. Again, everyone seems to make slightly different claims about their tech stacks. Again, some different arguments about which metrics really count when it comes to on demand viewing. Do you think the TV industry can get back to speaking with one voice again?Rod Prosser (29:20):Yes, I do. I think, look, it's in our best interest. I have to say behind the scenes there's a lot of cohesive discussions going on, whether that's through ThinkTV or whether that's through OzTam on how we best position ourselves as an industry. So there is a lot of work being done on how we unite and come together. I honestly have a lot of faith in the industry. It's like no other medium. It reaches more Australians every day than any other medium. As the measurement evolves, we just need to get super aligned, and that work's being done now. We've obviously got a new chair sitting on OzTam who's really enthusiastic, Mark Buckman, around bringing the team together. So I have no doubts that we will land a position, which is a united front.Tim Burrowes (30:21):Well, again, I suppose I think about you and the difference between you and your two competitors, which is, they're on an Australian financial year and you owned by a US company, which has a calendar financial year. So I guess you'll have just locked in your 2022 budget. Thing about being in your role is you have to make some promises that you think you can keep. So have you promised your bosses a return to 2019 revenue levels?Rod Prosser (30:49):Actually, I mean, be honest with you Tim, our revenue expectations are higher than 2019. We've been really fortunate commercially to grow our revenue share and our overall revenue across the last two years. So I'm really pleased with the sales team. I think part of that is that we sort of don't look behind us. We don't spend a lot of time worrying about what you call our competitors are doing, whether it's Seven and Nine. The sales team are singularly focused on what they can deliver and they're ideas-centric. So that's really resonated with the market, and off the back of that, we've been really successful, as I said, at growing our revenue and our revenue share, but also our premium, what we can offer advertisers in terms of our integration and sponsorship, partnership elements, is been really well received. So our expectation and the company's expectation is greater than that of what we delivered in 2019.Tim Burrowes (32:00):Big promise. That is where we leave it. My thanks to Rod Prosser. If it's not too early to say it, have a great Christmas break, Rod.Rod Prosser (32:08):You too Tim. It was wonderful chatting to you today. Yes, have a very Merry Christmas.Tim Burrowes (32:14):The Unmade podcast is produced with the enthusiastic support of Abe's Audio. More soon. I'm Tim Burrowes. Toodlepip. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

Welcome to Unmade.This podcast instalment continues my narration of the audio version of my book Media Unmade, which you can buy in bookshops and online.If you'd like to listen in the audio app of your choice, you can do so by clicking on the tiny link next to the audio player above. I've now managed to submit the podcast to the major audio apps directly, apart from Apple Podcasts which - like many aspects of Apple's podcasting app - is a byzantine nightmare. But we'll keep plugging away on that.In today's chapter, I share the story of the Nine Network at its lowest ebb.By the time David Gyngell returned to run the network in 2007, Nine had lost its way following the death of Kerry Packer. Ratings were a disaster, morale was at an all time low and the banks were circling. Eddie McGuire's short tenure as CEO hadn't helped either.The turnaround that Gyngell performed deserves to be taught in business schools. He floated the company on the ASX, completed the deals to become a five-city rather than three-city metro network, and untangled the unhelpful NineMSN joint venture with Microsoft. Along with Mike Sneesby, he was also the driving force behind the launch of Stan.But first he had to go through the pain barrier of the rise of social media as a brutal, real time arbiter of programming, and flop after flop.And then they commissioned The Voice, and it all began to turn around…This chapter also explains how the TV ratings system OzTam woirks.Among the characters covered in today's episode are David Gyngell, Mike Sneesby, Adrian Swift, Michael Healy, James Packer, Mia Freedman. Mark Llewelyn, Ben Elton, and the appearance of a low profile executive called Hugh Marks.Audio production on Media Unmade comes courtesy of Abe's Audio, the people to talk to about voiceovers, corporate videos and commercials.As ever, I welcome your thoughts to letters@unmade.media, or via the ugly brown comment button below.Some future episodes of this audio edition will only be available to paying subscribers. You can subscribe to Unmade - and support independent journalism covering the media sector - via the button below.Enjoy the weekend.Toodlepip…Tim BurrowesProprietor - Unmade This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.unmade.media/subscribe

Howatson + White co-founder Ant White is set to depart the agency he formed with Chris Howatson just six months after it launched. The team discusses what the implications of White's departure might be for the agency, including what it could mean for key clients.Are Media released its financial report for 2020 this week, showing that advertising revenue has declined but that revenue itself was up $35 million in total to reach $236 million. So how did the publisher manage to grow its revenue despite falling ad spend?This week, industry leaders came together to launch 'The Factsination', a platform designed to debunk myths surrounding the AstraZeneca vaccine and encourage Australians to get the jab. Special guest Dan Monheit of HardHat joins the Mumbrellacast to chat about the ins and outs of the platform, and what he hopes it will achieve.Plus, OzTam chief executive officer Doug Peiffer joins Zanda Wilson to chat about the recent launch of the Virtual Oz (VOZ) television measurement system.

Let's just say at least one network won't be happy with this week's episode.Each week the TV Blackbox team take you behind the scenes, wade through the PR spin and launch into the reality that is the Australian television business.In this episode:1.27 - Seven goes to war with Cricket Australia5.59 - Social media turns on Studio 1014.17 - OzTam to change the ratings game19.33 - How does 10 News First have one presenter hosting two bulletins at the same time?23.25 - Plate of Origin a real stinker for Seven28.49 - Hatches & Dispatches31.32 - A new plan for drama content39.45 - TV BlackvaultFollow the @TVBB_podcast crew:@rob_mcknight@shrimptank@viscountbrooky@BenjaminJNorris@SteveMolkFollow us on Twitter: https://twitter.com/tv_blackboxFind us on Facebook: https://facebook.com/TVBlackbox/Visit our website: https://tvblackbox.com.au Support this show http://supporter.acast.com/tv-blackbox. See acast.com/privacy for privacy and opt-out information.

Oh we're back, baby!You'll be glad the hiatus is over as the Blackbox crew return to discuss the issues of interest from just this week in the Australian TV industry. A most excellent welcome also to Yvie and Robbo, filling in for Ben and a conspicuously absent Molk (what a slacker that guys is!).Each week the TV Blackbox team take you behind the scenes, wade through the PR spin and launch into the reality that is the Australian television business.2.58 - Ransomware attackers bring down the OzTam ratings system7.41 - The TV news wars take a new turn as everybody wins!10.41 - ABC News Channel celebrates a decade of 24/7 news17.01 - David Koch signs a new contract with Seven22.27 - Guy Sebastian's brother wins The Voice... but was it fair?29.10 - The Ben, Rob & Robbo Show celebrates 50 episodes30.53 - Hatches & Dispatches34.00 - The Big Issue50.30 - TV BlackvaultHuge thanks to David 'Robbo' Robinson and Yvie Jones for joining us this week!Follow the @TVBB_podcast crew:@rob_mcknight@shrimptank@viscountbrooky@BenjaminJNorris@SteveMolkFollow us on Twitter: https://twitter.com/tv_blackboxFind us on Facebook: https://facebook.com/TVBlackbox/Visit our website: https://tvblackbox.com.au Support this show http://supporter.acast.com/tv-blackbox. See acast.com/privacy for privacy and opt-out information.

This week, TV ratings came under attack... from ransomware. It's particularly bad timing for Seven as it has not yet learned how the finale of Big Brother performed. Slipping through before Nielsen's OzTAM was struck were the finales of Nine's The Voice and Ten's Masterchef. Rolling into the next reality TV race, what are the Mumbrellacast team watching and looking forward to?And will the bad news for magazines ever end? The eight Bauer titles that were paused at the start of the pandemic will close. The team analyses how Bauer accelerated the decline of the print magazine industry, and unceremoniously farewells the Bauer family from the Australian market.Big moves took place in adland this week too. Australia's Marty O'Halloran will step onto the international stage following his promotion to global CEO of DDB Worldwide. And, ECD Andy Dilallo is set to depart TBWA Sydney with Clemenger BBDO's Evan Roberts to take his place. The change is surrounded by conspiracy theories about COVID cost cutting, but are they true?And, we chat about Australia's newest trade publication, Cannabiz, founded by Mumbrella's co-founder and former CEO Martin Lane. Tune in to hear about how the cannabis business is turning heads in the medical industry and what happens if it doesn't get legalised.

In an unassuming flat in an outer Sydney suburb lives Jenny. Jenny is one of the most powerful people in television - her viewing choices help shape our television schedules.TV Blackbox was given an exclusive viewing experience in a household with a ratings box. See acast.com/privacy for privacy and opt-out information.

One week out from the formal start of the 2019 ratings year and this week's podcast will make you question EVERYTHING you thought you knew about all of that. Plus there's some great chat and analysis of various shows and how we think they're going.So, you know... swings and roundabouts.Each week the TV Blackbox team take you behind the scenes, wade through the PR spin and launch into the reality that is the Australian television business.On this episode:The OzTAM official results for 2018 are in.Two weeks in Molk discusses how the MAFS v MKR battle is going.Rob has a chat with Nine's Chief Sales Officer MICHAEL STEPHENSON about the importance of BVOD, livestream and catch-up figures to the networks.What is the new role for SYLVIA JEFFREYS at Nine (and why is STEVE JACOBS still in the studio)?Budget cuts strike 10's DANCING WITH THE STARS before it even launches?Rob reports back on why Brekky TV will avoid Indigenous issues now.SBS admit there will be no more ROCKWIZ.INSTANT HOTEL is back with a new host - ditching Luke Jacobz.Molk's programming wrap checks out TV Tonight's programmer interviews.TV BlackBox is your weekly source of inside information across all facets of the Australian TV industry.Follow the @TVBB_podcast crew:@Rob_McKnight@DanMBennett@SteveMolkFollow us on Twitter: https://twitter.com/tv_blackboxFind us on Facebook: https://facebook.com/TVBlackbox/Visit our website: https://tvblackbox.com.au See acast.com/privacy for privacy and opt-out information.

BREAKING: Rob's case settled. Honestly, it was all we could talk about for the first five minutes, so use that skip button liberally if, unlike the rest of us, you are desperately interested in the finer details he is allowed to share. After that, there's the Emmys, more CBS drama for Team Moonves, Bert & Ernie AND even more ratings conversation/argument/chat.Each week a washed-up TV Producer (Rob McKnight), a TV writer and executive (Dan Bennett), an EMMY award winner (Jay Cagatay) & TV enthusiast and commentator (Steve Molk) take you behind the scenes, wade through the pr spin and launch into the reality that is the Australian television business.On this episode:Rob announces he's done a deal with TEN.Julie Chen Moonves resigns from CBS's THE TALK.US 60 MINUTES EP booted after text-bullying scandal.Jay talks about pay parity when it comes to QI - 40% difference!Solid Sesame Street chat re: Bert & Ernie's relationship status.Molk shares the ratings woes of Seven, Nine AND Ten.THE EMMYS: The hits, the misses and that proposal.Dan leads us through a chat on the top 20 scripted shows in OzTAM history.Memories of that time Bieber came to SunriseTV BlackBox is your weekly source of inside information across all facets of the Australian TV industry.Follow the @tv_blackbox crew:@Rob_McKnight@DanMBennett@jayktweets@SteveMolkFind us on facebook at https://www.facebook.com/TVBlackbox/ See acast.com/privacy for privacy and opt-out information.

The OzTAM chief Doug Peiffer offers insight into how TV ratings measurement works in Australia