Discovery Channel On-Air Promo Tactics

Note: This brand strategy was developed by myself and Lee Hunt to improve the audience retention efforts of the Discovery Channel.

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By Jeff Boortz and Lee Hunt

There are four primary tactical approaches for keeping current viewers and capturing surfers who visit Discovery. Some of the recommendations are reflected in the proposed graphic identity and promotion packages, some will be a function of the daily efforts of your promo department, and still others require a re-engineering of programming and break formats.

While it is not necessary to adopt all of the recommendations to achieve a positive effect on ratings and share, the more you do, the more significant the benefits will be.

The four tactical approaches for keeping current and capturing surfers who visit the Discovery Channel are:

1. INCREASE FRANCHISE/DAYPART FLOW

Moving viewers through dayparts is the most efficient way to build ratings and share.  By targeting off-air marketing to a destination program and using vertical flow to keep the viewers that the marketing delivers, we can substantially increase time spent viewing, sampling of new programming, and increase reach and frequency for promotional messages for other dayparts.

Tactics:

• • Target anchor programming with navigation promotion
    We recognize there are many variables that affect this tactical approach (different hours attract different audiences,  different days attract different audiences at different times,  competitive scheduling, etc…) and so its difficult to make this a hard and fast rule, but feel whenever possible this approach will yield positive results.Use your strongest show within a franchise to anchor a block. The anchor show should be scheduled first in the block, and tune-in to this show should be heavily promoted. The result will be that the largest audience possible is delivered by the strong show early and held for the benefit of the weaker/newer shows in the franchise through the viewer retention tactics described below.

    Do- spend the lion’s share of your resources packaging and cutting tune-in promos for only the anchor shows in each programming franchise.

    Don’t- do many tune-in spots for newer/weaker shows in a franchise, but rather focus your efforts on creating show-specific accelerated flow packaging elements.

  • Build accelerated flow breaks
    Accelerated flow breaks strive to maintain a sense of dramatic, tonal, and brand continuity through the break to stem the audience erosion caused by viewers that see a extended string of ads as their license to surf, and to dramatically reduce the destination confusion faced by surfers and returning viewers.
    • 2  1/2 second Flash IDs
      Dispersed throughout the break are several quick glimpses of the Discovery logo/globe. These “flash IDs” show the key Discovery brand icon, the globe, in a variety of active and franchise complimentary situations. Some are graphic or photographic, but many present the talent from the surrounding programming interacting with the Discovery globe icon.These quick animations remind the viewer what network they are on, and which programming franchise they are in. They can be grafted onto the front or tail of a network promo or inserted between ads in National or Local ad breaks. They are designed to used in multiples of two to add up in :05 second increments for proper break timing.
  • Create “1 event” end breaks
    NBC 2000 is already old-school, but it is still effective. It has proved that the less attention you draw to the end of a show, by starting the next show quickly, the less the viewer will feel the need to actively choose their next show.
    While Discovery, like most networks, does not put ads between shows, ads are not the only things we find in endbreaks. There are show credits, production company credits, IDs, and promos. In other words, there are still a number of very strong cues that one viewing event has ended that invite viewers to consider their alternatives. While eliminating these elements and achieving truly seamless programming may not be possible, these disruptions should be minimized in ways that reduce the “felt time” of this interlude.

    Felt time is a function of the number of discreet events the viewer experiences. While it is true that a five second promo feels shorter than a thirty second spot, it is also true that six five second promos back-to-back, each with a beginning, middle, and end will feel longer than a single thirty second spot, with one beginning, middle, and end. Since each non-programming event encourages more viewers to surf, reducing the felt number of events to 1 should be our primary goal in the end break. One event breaks can even have multiple messages if crafted carefully. 

• • • Shorten/ and create Lower 3rd credits
      While the best case would be to move the show credits to the web, where they can be expanded and appreciated by the viewers interested in them, Discovery knows first hand, that such a move will be actively rejected by those credited and their unions. So, while we can’t eliminate them, we can reduce them significantly.Limiting the number of on-screen end credits and presenting them in the Lower 3^rd of the screen means that a second stream of content can be opened up in the upper 2/3ds. Limiting the number of credits significantly ensures that those that do appear will be readable. Credits that whiz by so fast that they can’t be read are worse than credits, because there is absolutely no chance of being engaged by what appears on the screen.

• • • Pre-start/tease next show
      The best way to eliminate surfing is to engage the viewer early in the dramatic situation of the programming event. Stand alone “bits” that kick off the show but that are extra (not critical to understanding or appreciating the show fully) are best. These bits will be produced by the show instead of producing a similar bit of content to cover their credits.These “bits” will appear to viewers to be the start of the show, though they will occur over the outgoing credits of the last show. In a sense they are tease promos, but ideally, they won’t be perceived as such, as content is stickier than promo.

      One tack, in creating “Pre-Starts” is to create a set of character-based evergreen bits that can be used repeatedly in a long cycle. Though the element will be listed as a tease promo in the logs, there should be no graphic elements (show logos etc) nor should promo/tease language dominate.

    • Use voice-over bridges
      Regardless of whether the single event is a promo or Pre-start bit, the sound for it should be designed to extend over credits and production company cards to the beginning of the actual show. Sound can be a very powerful element in setting the action of the incoming show in motion. If it syncs up the visuals in the upper 2/3rds it will cement the impression that the disparate visual elements are part of a single event’s beginning, middle, and end. Felt time will be reduced to its minimum.

2. INCREASE SHARE AT THE BEGINNING OF A SHOW
   

We know the first one to two minutes of a program are the most critical in retaining inherited audiences and attracting new samplers. By rethinking our approach to show opens we can help build a larger audience at the top of the hour.

Tactics:

• • Use cold opens
    Never start a show with a graphic, or canned open, unless it is under :05 seconds. Get into the story as quickly and as deeply as possible. 
  • Keep opens short and expository
    In addition to the Pre-start described above, the actual start of the actual programs should not involve long “canned opens.” If graphic, or canned opens are used at all they should be limited to :07 seconds for 30-minute shows, and :15 seconds for hours. One of our favorites is ABC’s My Wife and Kids.  No open.  Just opening credits keyed over the story.

3. SLOW SHARE EROSION INTO COMMERCIAL BREAKS
   

The first minute of a break often determines what percentage of the audience will remain and for how long.  There are several ways to help slow the inevitable erosion of breaks.

Tactics:

• • Create out bumps that are next segment teases and that also forward promote the next show. 

• • • :10 Outbumps
      These traditional packaging elements are updated to not only invite/entice the audience back after the break, but also to encourage vertical viewing by promoting the next show in the line-up- effectively returning “first position” back to the networkBecause there are 5 or 6 breaks in an hour long show, we want to make sure that we don’t burn the audience out with this additional messaging. We recommend a period of experimentation that explores whether including forward promotion in the last 3, 2, or 1 outbump(s) is most effective.

      In order to work the messages must be delivered by the talent from the outgoing show, be spoken in the “character” and “idiom” of the program, and devote most of their time to bridging the break (what we just saw, and what we’re about to see). The banter promoting the next show should be woven into the conversation naturally and build sequentially over the last 2 or 3 interior breaks.

      The bump should resolve in a :02 full-frame Discovery Channel logo that features the globe icon and the programming franchise imagery heavily.

 

• • Employ pod architectureBesides the recommendations listed here, we recommend a full review of Discovery break structure, including clutter issues.
    
  • Use web markers/promotions
    • Use DVR bugs
      As part of this exercise we must examine the best way to use TiVo bugs.

4. INCREASE SHARE COMING OUT OF BREAK
   

Most viewers eventually return after surfing a commercial break.  Some however, get lost, forget what they were watching, lose interest, or find new content to view.  We can help guide viewers back while capturing new viewers visiting from the competition.

Tactics:

• • Deploy “ownable” cue tones at bump in
    Sound is a powerful cue, that can both alert the audience that we are coming out of a break and that they are tuned to Discovery. 20% of the time people are watching TV they are not looking at it. Cue tones are effective even if you can’t see the TV.

 

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MAKING MORE POWERFUL AND MEMORABLE PROMOS

Promo Format:
In addition to the above, we recommend that Promos break from the traditional format by placing full-screen tune-in information first, or very near the front of the promo. Then retain the information in a lower 3d with the Discovery logo for the rest of the spot. There would be no traditional graphic end tag.

This novel promo structure attempts then to immerse the viewer in the emotional programming experience without interrupting with foregrounded graphic tune-in and strives to end on a strong emotional note. The approach is based on the research findings of Barry Schwartz, author of “Paradox of Choice.” He observed that people tend to remember the peak emotion of an experience, and the “peak end.” And that the peak end (how they felt at the end of the experience) dominates the two impressions.  By inference then, traditional promo structure, with its lengthy, non-immersive and unemotional graphic end pages will tend to flatten and undermine the emotional impressions generated by the spot. Conversely, foregrounding the tune-in information before the emotional appeal has begun, and retaining tune-in reference throughout in a subordinate position, should yield the most favorable memory of the promo, with at least equal retention of tune-in information. Since promos are mini-experiences of the show promoted we believe that a stronger emotional memory of the promo will be more effective in encouraging tune-in.

The Use of Show Logos in Promotion
While we recognize the power that a show logo can have in connecting with an audience and in defining a programming franchise, the use of a large number of low-production-value graphics dilutes the branding power of a great Identity and Promo Package for the Discovery Channel. We recommend that, as part of this repackaging effort:

1. Custom show logo animations be created for key shows in the style and production value of the package.
2. Guidelines be established to govern the use of specialty graphics in promos.
   • When to use “package type” only and when to use specialty graphics
   • Production-level requirements for specialty graphics, “The Bar”

Reaction Shots as an Audience Cross-Pollenation Strategy:
Discovery is presently serving two major audiences with two types of programming. Its older viewers are used to Discovery’s epic specials like Walking with Dinosaurs, Neferteri, and Columbus. Its younger audience is into the personality driven series like American Chopper, Big, and Monster Garage.

One way to overtly encourage sampling by one demo of the other programming strain is to include “reaction shots” within episodic, or generic promos. These stylized intercuts would show the heroes of programs favored by the unexpected audience for a show reacting with awe, curiosity, or shock. They don’t need to be endorsements to work, simply seeing themselves represented in promos for shows they’ve never considered watching should pique their interest.

For example, imagine ending a promo for American Chopper with a quick shot of a T-Rex. If he is startled by the sound of a thundering chopper, it might just tie everything together in a provocative sort of way.

IMAGE CAMPAIGN:
While an image campaign is not essential, it seems the best way to deal with the 20^th Anniversary of the Discovery Channel. The goal of the campaign should be to feature the hosts of the new Discovery Series in relation to the icons of great traditional epic Discovery programming – thereby bridging the gap between old and new, young and old, epic and personal.