Nielsen Adding PPMs To Local TV Ratings

Its local TV service will incorporate portable people meters to enhance total audience coverage for both in-home and out-of-home viewing.
TVNewsCheck,

Today, Nielsen announced that as part of its ongoing effort to advance television measurement, it will expand the use of its portable people meter (PPM) technology to provide direct persons measurement for local TV ratings.

The company said the addition of PPM panelists to local TV service will effectively double the sample size and provide local clients with ratings that reflect precise measurement of local viewing behaviors and insights and boost ratings fidelity. Nielsen will begin to introduce PPM measurement for in-home and out-of-home viewing in 2017.

Story continues after the ad

PPM is used today for Nielsen’s audio measurement service and will be extended for use in local TV ratings which will now include viewing from over 75,000 PPM panelists across 44 TV markets.

Nielsen said this enhancement is estimated to lead to a 40% decrease in zero audience estimates, “providing local TV clients with increased opportunities to monetize their in-home and out-of-home viewing audiences.”

“As part of our overall local market enhancement measurement strategy, Nielsen is maximizing the strengths of various data sets, including PPM data and return path data, to help our local clients understand their total audience by capturing all sources of viewing. Additionally, we are providing them with the tools needed to maximize their audience and grow their business,” said Megan Clarken, president, Nielsen product leadership. “The media industry is in the midst of an important transition and people have endless options for viewing their favorite content. We are the only measurement provider that can directly measure the out-of-home television audience.”

Additionally, in the first quarter of 2017, Nielsen will release a stand-alone service that gives local clients in the 44 designated market areas the ability to see incremental audience provided by out-of-home viewing. The portability of the PPM technology will measure TV viewing in locations including bars, offices, hotel rooms and other places outside of the home where TV is watched. It said impact data for out-of-home measurement combined with PPM measurement of in-home viewing is expected in the third quarter of 2017.  

Brand Connections

Nielsen said the inclusion of PPM measurement into the Nielsen local TV service will bring “additional stability and depth to local TV ratings. The integration will advance Nielsen’s ability to provide clients more granular data while measuring consumers wherever they watch.”

Tags

Comments (0) -

Marketshare Blog Playout Blog

Twitter

TVNewsCheck

Ratings

Overnights, adults 18-49 for April 27, 2017
  • 1.
    1.3/5
  • 2.
    1.2/5
  • 3.
    0.8/3
  • 4.
    0.6/2
  • 5.
    0.6/2
  • 6.
    0.4/1
Source: Nielsen

Reviews

  • Neal Justin

    Tina Fey will inevitably let down her legions of TV fans with a real stinker. But not yet. The comic maestro, whom Rolling Stone recently ranked as the third greatest player in Saturday Night Live history, is following 30 Rock and Unbreakable Kimmy Schmidt with NBC’s Great News, yet another fast-paced, perfectly absurd sitcom about a single woman trying to maintain a personal and professional life with Mary Richards-like spunk.

  • Jeanne Jakle

    Don’t go into the new round of Fargo expecting the grab-’em-by-the-throat shocks that opened previous seasons of TV’s chilliest crime anthology. The latest incarnation of the FX series from Noah Hawley takes its time worming into your mind and getting you hooked. Season three establishes its characters at a much more leisurely pace: the central quartet, the unscrupulous locals who surround them and the sinister interlopers who make these drab Minnesota lives more complicated and, eventually, scary as heck.

  • Daniel Fienberg

    In Brockmire, Hank Azaria's Funny or Die sportscaster works surprisingly well as a regular series lead on the new IFC show, costarring the excellent Amanda Peet. Over the course of the eight episodes, Brockmire moves through a trio of arcs, delivering underdog sports shenanigans, a relationship that makes more sense as it progresses and Brockmire's sad and probably doomed search for redemption. That's all propped up with enough low-brow jokes, raunchy baseball references and disreputable hijinks that the show never wallows. I reached the finale and was surprised at how much I wanted to see more from a character I initially thought couldn't sustain more than five minutes.

  • Maureen Ryan

    It’s appropriate that The Good Fight on CBS All Access has a slightly more jagged and splintered atmosphere than The Good Wife, the long-running CBS drama that starred Julianna Margulies. In the opening minutes of the first episode, Diane Lockhart (Christine Baranski), watches as Donald Trump is sworn in as the nation’s 45th president. Before the 50-minute pilot is over, the jarring changing of the guard in Washington is the least of her troubles. Baranski brings a heartbreaking rawness to her performance as Diane, who never got enough meaningful screen time on The Good Wife. Diane’s plight is thus personal but also metaphorical: She likens the collapse of every pillar of her supposedly solid and trustworthy world to a nightmare.

  • David Wiegand

    It’s hard to say which is more excessive in the new CBS crime thriller, Training Day: the action or the dialogue. But in either case, the series from Jerry Bruckheimer and Anthony Fuqua goes a long way toward waking up broadcast TV’s mid-season. There is plenty of action, enhanced by fast-paced editing, in the three episodes made available to critics. And there’s violence. But most of all, there is dialogue so rich and colorful, it almost evokes the stuff of guys like Raymond Chandler and Dashiell Hammett, or at least Sgt. Joe Friday. Training Day just may get away with murder on Thursday nights when the numbers are counted.

  • Hank Stuever

    Well, they only had to remake a jillion TV shows from yesteryear to finally get one exactly, perfectly right. Not only is Netflix’s reimagined One Day at a Time a joy to watch, it’s also the first time in many years that a multicamera sitcom (the kind filmed on a set with studio-audience laughter) has seemed so instinctively comfortable in its own skin. It doesn’t try to subvert or improve on the sitcom format; it simply exhibits faith that the sitcom genre can still work in a refreshing and relevant way.

This advertisement will close automatically in  second(s). You will see this ad no more than once a day. Skip ad