Category: General

Powered Unpacked: Activision Blizzard CMO Fernando Machado

Activision Blizzard's Chief Marketing Officer: Fernando Machado

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"If you invest behind creativity, then unlock it, it can give you disproportional growth"
says Machado.

If you have the right relationships, and you are brave enough, together you will get your creativity over the line. Without that, brands will just continue to interrupt and in turn get ignored by their customers, suggests former Dove and Burger King marketing chief-turned-Activision Blizzard CMO, Fernando Machado. Nurturing ideas in a genuine partnership with your agency is critical – the team is everything. It’s an investment in time and it’s worth it. Get it right, like BK’s Whopper Detour did, and enjoy that 37:1 ROI.* 

Invest in creativity

 

Anointed by Forbes as one of the world’s three most influential CMOs, Activision Blizzard’s Fernando Machado previously directed the fortunes of Burger King and Unilever’s Dove, unleashing some of the world’s best known brand campaigns and driving massive growth. But, talking to Nine’s Director of Brand, Michele O’Neill, he says he could not have done it without his creative agency partners. In some cases, he moved in with them. Literally.

Meanwhile, Machado thinks the rush for engagement and attention by marketers could backfire: too many brands are mistaking interruption for creativity. “It’s not enough to just push the message anymore,” says Machado. “It all starts with the idea – and an idea is not going to fall on your lap by accident.” Agencies, he says, must then help marketers get it over the line and win over an army of corporate stakeholders, or risk the idea never coming to life.

Creativity “can be a source of competitive advantage for businesses and brands”, says Machado. But it requires underpinning foundations. “If you have the right people in place, if you have the right relationships, and if you are brave enough, through creativity you will be able to unlock growth. That’s what I try to do.”

Those building blocks can then support great ideas – and nurture them to life through often-perilous infancy.

“It all starts with the idea, but you also need to understand the people you want to reach, you need to understand your brand and the history of the brand, understand culture, what’s out there, what’s on the zeitgeist, and then work with the right people, with the right process to unlock that creativity, which will prepare results,” says Machado. 

Safe work never cuts through

Embedding those rules and structures means brands stand a better chance of unlocking creativity, he says, leading to disproportionate growth. Otherwise, chances are people will largely ignore whatever it is you’re trying to convey. Safe work never cuts through.

“In the world that we live in people have more important things to do than paying attention to your brand. So you may as well do something different, unique, engaging, that will earn people’s attention.” 

But pursuit of attention – a metric the ad industry is investing massive sums in to develop – can be counterproductive if it doesn’t result in real engagement.

“It really doesn’t work anymore to just interrupt people. You need to create something that will stand out, something that gives me something back, not just pushing the message at people,” says Machado.

“It’s all about the idea. And the idea will lead you to how you are going to execute. Of course, if you have a powerful visual [he cites Doves Sketches campaign] that can be an amazing shortcut in terms of attention, in terms of engagement.”

Nurture ideas together

The idea is everything, especially at Burger King where Machado spent seven years as CMO. He executed memorable, award-winning campaigns, from the rule-breaking visual masterpiece of Mouldy Whopper to Whopper Detour, breathing creativity into their late-to-market mobile ordering app and payment system.

With Detour, Burger King geo-fenced 14,000 McDonald’s locations across the US and gave customers a coupon for a 1 cent Whopper – if they opened the app at (or next to) a McDonald’s. The results were 1.5 million app downloads in nine days and the highest foot traffic to Burger King stores in four years, with their most successful ROI in years.

“Back in the day, it was the best ROI we had in terms of bringing new users to our app,” says Machado. Not bad for the launch of something as potentially humdrum as mobile payment.

“That’s where creativity comes in. I needed an idea. An idea was presented – and it was not exactly what Whopper Detour was. But that is the other thing – when amazing ideas are presented, you need to nurture them." 

“That’s why it’s so important to work closely with the creative team and the agency and be a real partnership, because we helped shape that together with FCB New York: ‘Hey, what if we did this? What if we did that? What if we use this idea to launch mobile order and payment?’ And honestly, it was love at first sight when we articulated it that way.”

The campaign generated mass press coverage. “You can now get a Whopper for 1 cent, only at McDonald’s. People are like, ‘No, no, no, Burger King, right? You mean Burger King?’ No, McDonald’s,” says Machado. “And that was the beauty of the idea, and people just went and had fun with it.”

The long game

Machado says he was able to build powerful brand platforms and campaigns because he also had closely aligned senior C-suite execs who understood the potential for disproportionate growth through creativity. Those relationships also contributed to his lengthy tenures – 18 years at Unilever and seven years as CMO at Burger King’s parent, RBI. The average CMO tenure globally is around 40 months.

Machado admitted that “if I were there for one or two years it would have been trickier. I would be much more short-term oriented because I would like to show results quickly”.

Being able to focus on key issues with a longer-term vision also enables brands to own and generate a legacy, says Machado, citing Dove’s leadership on female empowerment.

“If you concentrate in one area or in a few areas in your work consistently over time, you increase your chance of being able to own that. To this day, if I see an ad that is about self-confidence or real beauty, people watch it and they feel like, ‘Oh, that’s like Dove.’ Dove owns that.”

Live with the agency

Key to everything, Machado reiterates, is to partner with the agency genuinely and deeply. In some cases he moved in with them, literally – security pass, toothbrush and a desk. “I never treated the agency as a supplier. To me they are part of the team. I want them to understand how my business is doing, I want them to understand how difficult it can be to get things through with stakeholders. I want them to win and lose with me.

“When I was working with BBH New York my thumbprint would work to open the door because I was arriving so early. They gave me a desk. I had a phone number.

“Still, when I go to the BBH New York building, the guy who is at the door is still the same guy from back in 2005. And every time I go there he remembers my name because he’s a massive ABBA fan, so he sings Fernando every time. I’m not joking.”

* Source: Effie Database 'Mouldy Whopper' Campaign

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Powered Predicts 2023

PoweredPredicts

Powered Predicts is the culmination of an extensive body of research that seeks to underpin the emerging trends in media, marketing and advertising, designed to help your brand step into 2023 ahead of the game.

The consideration point

The butterfly effect of the last few years has taught us that each action has a consequence

As we continue to liberate ourselves from the things that no longer serve us, we are considering new ways of living, working, creating, co-operating, and communicating – with brands, each other, and the wider world. ​

2023 is expected to be a year of increased uncertainty, therefore it's only natural that we are more considered in our choices. Considered because we want to get it right but also because we can't really afford to get it wrong.

Powered Predicts trends surface organically from a broad spectrum of sources and tell the story of people and their relationship with their environment, technology, brands, and each other. ​

The butterfly effect of the last few years has taught us that each action has a consequence

As we continue to liberate ourselves from the things that no longer serve us, we are considering new ways of living, working, creating, co-operating, and communicating – with brands, each other, and the wider world. ​

2023 is expected to be a year of increased uncertainty, therefore it's only natural that we are more considered in our choices. Considered because we want to get it right but also because we can't really afford to get it wrong.

Powered Predicts trends surface organically from broad spectrum of sources and tell the story of people and their relationship with their environment, technology, brands, and each other. ​

9 Trends for 2023
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Toby Boon

Director of Strategy & Creative Solutions, Powered by Nine

Now in its third year, Powered Predicts is an ongoing trend-tracking initiative from Powered by Nine’s Strategy & Creative Solutions team. The project’s focus is to identify the key cultural trends which we believe will build momentum over the next twelve months, and unpack what they mean for Australia’s marketers and their agencies.

To inform these predictions, the team draws on consumer research and category shifts, creative effectiveness studies, cultural forecasting, and the business objectives driving advertisers’ media briefs. This means that our “top 9” list is eclectic and reflects the diverse range of sources and analysis that shape it. From the re-evaluation of “value” to choice paralysis, from new rules for personal relationships to the growing role that pets play in purchase decisions, Powered Predicts offers brands an intriguing and invaluable glimpse into the year ahead.

Now in it’s third year, Powered Predicts is an on-going trend-tracking initiative from Powered by Nine’s Strategy & Creative Solutions team. The project’s focus is to identify the key cultural trends which we believe will build momentum over the next twelve months, and unpack what they mean for Australia’s marketers and their agencies.

To inform these predictions, the team draws on consumer research and category shifts, creative effectiveness studies, cultural forecasting and the business objectives driving advertisers’ media briefs. This means that our “top 9” list is eclectic, but it reflects the diverse range of sources and analysis that shaped it. From the re-evaluation of “value” to choice paralysis; from new rules for personal relationships to the growing role that pets play in purchase decisions, Powered Predicts offers brands an intriguing and invaluable glimpse into the year ahead.

TobyBoonHeadshot

Tony Boon

Director of Strategy and Insights, Powered

To explore the future together, and delve deeper into these trends, please request a tailored presentation by completing this form.

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Powered Unpacked: new research into regional Australia unveils data brands shouldn’t ignore

New research into regional Australia unveils data brands shouldn't ignore

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Shift happens: Australia’s regional centres overtake metro growth but marketers risk repeating strategic errors, crimping ESOV

For the first time in over 40 years, population growth in regional Australia is outstripping capital cities, the latest ABS data shows. But new research from Nine and Pollinate finds that brand marketers are failing to fully tap this growth opportunity and own markets that rivals are yet to reach. Here’s how to cut through to 35 per cent of the population – and rising. 

New research unveils surprising data

Pollinate’s survey of 1,500 Australians in both regional and metro areas aimed to compare and contrast what they value and how that differs across markets. It found there are few real differences – exploding a common myth, according to Nathan Patrick, Commercial Director for Regional television at Nine. He thinks this has significant implications for brand marketing strategies.

“Over a long period of time there’s been a lot of misconception about the regional and metropolitan audiences, so it’s been really interesting to get this data to see where the similarities are,” says Patrick. “Finally we can go back to marketers and say ‘look, we’re telling the same story here – this is the audience and there is no difference’”.

Marjorie McBride, Insights Manager with Nine’s Group Audience Insights Division, agrees.

“What was most surprising to me was just how unanimous both metropolitan and regional Australians are in all aspects of life, but particularly when it comes to family life, friendships, social life and career aspirations,” she says of the research.

Graph_Metro Regional Similarities _ Pollinate

“Historically there has been this common misconception that regional Australians are vastly different to city dwellers, and that’s no longer the case. We need to acknowledge that there are large regional cities like Newcastle, Lake Macquarie, Geelong, Gold Coast, the Sunshine Coast, the Central Coast, all of which are quite metropolitan in nature These are the places experiencing the largest population growth.” 

Toby Boon, Director of Strategy and Insights for Powered by Nine, questions whether brands are fully alert to that sustained trend. In response, Nathan Patrick suggests solid regional marketing strategic foundations have been laid via initiatives such as Boom Town, but building on those initiatives stuttered during the pandemic as brands grappled with shifting dynamics. 

Unconscious underrepresentation

While media owners have recognised the sustained changes underway – The Block, Tree Change delivered record total television numbers, Shaynna Blaze’s Country Home Rescue recently hit our screens, and Byron Bay appears to be emerging as the new home of reality TV – Marjorie McBride points out that Pollinate’s research suggests there is more work to do. 

“It found that all Australians think that regional Australians are under-represented in the media,” McBride says.

“Over half of the people we surveyed in metro and in regional markets agree or believe that regional Australians are actually a good representation of what it means to be Australian, and even more representative than a metropolitan Australian.” 

Are brands conscious of that lack of representation? “I don’t know if they are conscious of it,” says Nathan Patrick. “But it is definitely coming to light in conversation.” 

More broadly, he thinks the size of the regional prize is starting to land, with marketers increasingly cognisant of the demographic changes playing out.  

“Northern New South Wales is now the third largest population in Australia. It goes Sydney, Melbourne, then Northern New South Wales – it is bigger than Brisbane There has been a lot of work, especially from our end, trying to educate people around that."

"It is finally getting a positive impact and we have definitely seen the advertiser pool grow” Patrick says.

Premium v peanuts

Despite the similarities between metro and regional audience values, Patrick warns brands not to take a one-size-fits-all approach, saying: “What works for McDonald’s or what works for Woolworths is different, and the education around that is really important.” 

But he insists there is one underlying rule of thumb: Don’t buy junk inventory. 

“You can’t just keep buying the cheapest CPM if you want to move the needle It’s just frequency, frequency, frequency. And from an auditing perspective, premium is where the audience is.” 

Patrick points to the 'A Fire Inside' documentary made with Powered and Initiative for IAG, as an example of how brands can cut through to both regional and metro Australia by taking a more thoughtful - and premium - approach. The 90-minute film and associated advertising assets ultimately reached 12 million Australians and became Australia’s most watched documentary in the summer of 2021. 

Toby Boon thinks the campaign’s success was due to its recognition and linkage of natural disasters in regional Australia and the huge impact of bushfires on metropolitan life – connecting people with Australian stories wherever they are from. 

Patrick suggests brands can build on those connections through news channels regionally via the WIN network. “WIN news delivers great cut-through in those communities because it educates and gives something back. As brands you have to be ingrained in such communities.” 

ESOV boost

Patrick thinks advertisers can also find greater cut-through in regional areas due to reduced clutter, “because a lot of their competitors aren’t advertising there yet”.  

That view is backed up by marketing effectiveness rules such as ESOV (enhanced share of voice) which states that brands which spend above their market share – going hard on reach and long on brand – achieve higher growth than those that do not. 

Which is why cutting regional spend when budgets come under pressure could be a disastrous recipe for brand strength, and ultimately sales.  

“That is one thing we try and drill into the market. Don’t just cut regional because it is the easiest thing to do,” says Patrick. “It is actually 35 per cent of the population. There is an opportunity to own that space.” 

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Nine’s End of Year Ratings 2022

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The 9Network has retained its coveted status as Australia's No.1 Network with all key demographics in 2022

The 9Network is Australia’s No.1 network, with Nine’s clear strategy of creating and distributing Australia's most watched content year round. The end of the 2022 ratings survey year marks the fourth consecutive year the 9Network has made a clean sweep of all key demos. 9Now is the clear No.1 commercial BVOD platform.

Network

with all key demographics 25-54, 16-39, GS + Child across calendar year.

Network

with Total People across calendar year.

 

Primary Channel

with all key demographics and Total People - across both calendar year and ratings survey period.

Commercial free-to-air BVOD platform

9Now - with all key demographics and Total People.

Network & Primary Channel

with all key demographics and Total People - across both calendar year and ratings survey period (excluding Commonwealth Games).

Highest rating program of the year

The Australian Open Women’s Final - Presentation recorded a Total TV audience of 4.1 million.

Highest rating non-sports program of the year

The Block - Winner Announced with a Total TV audience of 2.664 million.

In 2022, 9Now has recorded Live + VOD minutes

A year-on-year increase of 19%.

Live streaming on 9Now has driven the huge increase with streamed in 2022 to date

A year-on-year increase of 50%.

Channel 9 has programs of 2022

with Total People and 17 of the Top 20 programs with People 25-54 and 16-39, including all five of the Top 5.

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The biggest moments of Australian TV
start right here on Nine

In 2022, Channel 9 can lay claim to the highest rating program of the year with the Australian Open Women’s Final - Presentation recording a Total TV audience of 4.1 million. It was the highest rating Australian Open Women’s Final of all time and recorded the highest live BVOD audience of the Australian Open ever, with 241,000 people tuning in on 9Now. 

The all-Aussie Men’s Doubles Final was the highest rating Australian Open Men’s Doubles match of all time. It drew a national Total TV average audience of 2.5 million.

The combination of the Women’s Final and the Men’s Doubles Final on Saturday, January 29 gave the 9Network the highest primetime commercial shares in OzTAM history with People 25-54 (81.2%), 16-39 (84.9%) and Total People (78.6%).

Our broadcast of the Men’s Final of the Australian Open achieved a national Total TV average audience of 2.3 million. It was the highest rating Men’s Final in four years. On 9Now, the Men's Final recorded a Live BVOD Audience of 227,000 – a year-on-year increase of 157% and the highest live BVOD Audience of an Australian Open Men’s Final ever.

The Block - Winner Announced is the highest rating non-sports program of the year with a Total TV audience of 2.664 million.

Channel 9 has 16 of the Top 20 programs of 2022 with Total People and 17 of the Top 20 programs with People 25-54 and 16-39, including all five of the Top 5.

The continued dominance of the 9Network is driven by a powerhouse of the biggest shows on Australian television.

Married at First Sight achieved a Total TV average audience of 1.995 million per episode - an increase of 55% on its overnight audience. An average of 547,000 viewers watched each episode on 9Now.

Underbelly: Vanishing Act is the highest rating new Australian drama launch in three years (5 City Metro). Across its two episodes, it achieved a Total TV average audience of 1.621 million - an increase of 60% on its overnight audience.  An average of 358,000 viewers watched each episode on 9Now.

In its incredible 18th series, The Block achieved a Total TV average audience of 1.607 million per episode - an increase of 35% on its overnight audience. An average of 274,000 viewers watched each episode on 9Now.

Lego Masters achieved a Total TV average audience of 1.284 million per episode - an increase of 49% on its overnight audience. An average of 182,000 viewers watched each episode on 9Now.

Travel Guides achieved a Total TV average audience of 1.165 million per episode - an increase of 35% on its overnight audience. An average of 140,000 viewers watched each episode on 9Now.

Australian Ninja Warrior achieved a Total TV average audience of 872,000 per episode - an increase of 23% on its overnight audience. An average of 85,000 viewers watched each episode on 9Now.

Beauty & The Geek Australia achieved a Total TV average audience of 826,000 per episode - an increase of 37% on its overnight audience. An average of 147,000 viewers watched each episode on 9Now.

Celebrity Apprentice Australia achieved a Total TV average audience of 737,000 per episode - an increase of 33% on its overnight audience. An average of 108,000 viewers watched each episode on 9Now.

My Mum Your Dad has achieved a Total TV average audience of 725,000 per episode (to date) - an increase of 38% on its overnight audience. An average of 154,000 viewers watched each episode on 9Now.Love Island Australia is a smash hit on 9Now, averaging 275,000 viewers per episode on the BVOD platform.

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Michael Healy, Nine’s Director of Television, said: “I’m so incredibly proud of the efforts of everyone in the broader Nine family. Their tireless work and boundless creativity have once again cemented our dominance across digital and linear viewing. Throughout 2022, night in, night out, our programs have consistently won the key demographics while dominating water-cooler conversations across the country. As always, I’d also like to thank our production partners who have helped to deliver content that engages, informs and entertains.”

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Michael Stephenson, Nine’s Chief Sales Officer, said: “It doesn't matter how you want to look at it or how you want to cut the numbers, for the fourth year in a row, Nine is the undisputed leader. Number 1 16-39, number 1 25-54, number 1 Grocery Shopper with Child and number 1 in BVOD. We've got the biggest formats. We dominate from the beginning of the year until the end of the year. We've got the most consistent schedule, available across every screen. And next year is going to be even bigger.” 

Linear Television – Network commercial shares
6pm to midnight - 2022 survey year

18:00-MN
Network
Network
Network
25-54 38.2% 34.5% 27.3%
16-39 37.4% 35.3% 27.2%
GS + CH 40.0% 34.1% 25.9%
Total People 38.6% 39.1% 22.2%

 

Source: OzTAM Metro 5 City, Ratings Survey Year, 6 February – 21 November 2022, excluding Easter 10/4/2022 – 23/4/2022, 18:00 – 23:59, Network Nine, Network Seven, Network 10, Key Demos + Total People, Commercial Share, Consolidated 28 as at 22 November 2022

Linear Television – Primary channel commercial shares
6pm to midnight - 2022 survey year

18:00-MN
25-54 28.1% 24.4% 18.2%
16-39 28.5% 25.0% 18.2%
GS + CH 30.5% 25.1% 17.6%
Total People 27.9% 27.4% 14.5%

 

Source: OzTAM Metro 5 City, Ratings Survey Year , 6 February – 21 November 2022, excluding Easter 10/4/2022 – 23/4/2022, 18:00 – 23:59, Nine Primary, Seven Primary, 10 Primary, Key Demos + Total People, Commercial Share, Consolidated 28 as at 22 November 2022

Linear Television – Network commercial shares
6pm to midnight - 2022 calendar year

18:00-MN
Network
Network
Network
25-54 38.8% 33.9% 27.3%
16-39 38.2% 34.8% 27.0%
GS + CH 40.2% 33.8% 26.0%
Total People 39.1% 38.6% 22.4%

 

Source: OzTAM Metro 5 City, 1 January 2022 – 21 November 2022, 18:00 – 23:59, Network Nine, Network Seven, Network 10, Key Demos + Total People, Commercial Share, Consolidated 28 as at 22 November 2022

Linear Television – Primary channel commercial shares
6pm to midnight - 2022 calendar year

18:00-MN
25-54 28.5% 23.9% 18.3%
16-39 28.9% 24.7% 18.1%
GS + CH 30.6% 24.8% 17.6%
Total People 28.2% 26.9% 14.6%

 

Source: OzTAM Metro 5 City, 1 January 2022 – 21 November 2022, 18:00 – 23:59, Nine Primary, Seven Primary, 10 Primary, Key Demos + Total People, Commercial Share, Consolidated 28 as at 22 November 2022

Broadcast Video on Demand commercial shares
2022 calendar year

25-54 49.9% 35.3% 14.8%
18-39 52.1% 34.4% 13.6%
Total People 49.1% 36.1% 14.8%

 

Source: OzTAM Live + VOD VPM, 1 January 2022 – 22 November 2022. Metric: CFTA Minutes, duration 0+, includes coviewing on Connected TV

Linear Television - Free-to-air network shares
6pm to midnight - 2022 survey year

 

18:00-MN Network Network Network
Network		 Network
Ppl 25-54 30.8% 27.8% 22.0% 12.4% 7.0%
Ppl 16-39 30.4% 28.7% 22.1% 12.5% 6.3%
GS + Child 32.1% 27.4% 20.8% 13.1% 6.6%
Total Ind. 28.6% 29.0% 16.4% 17.1% 8.9%

Source: OzTAM Metro 5 City, Ratings Survey Year, 6 February – 21 November 2022, excluding Easter 10/4/2022 – 23/4/2022, 18:00 – 23:59, Network Nine, Network Seven, Network 10, ABC Network, SBS Network, Key Demos + Total People, FTA Share, Consolidated 28 as at 22 November 2022

Linear Television - Free-to-air primary channel shares
6pm to midnight - 2022 survey year

18:00-MN
Ppl 25-54 22.7% 19.6% 14.7% 7.1% 3.2%
Ppl 16-39 23.1% 20.3% 14.8% 6.6% 2.7%
GS + Child 24.5% 20.2% 14.1% 6.8% 3.1%
Total Ind. 20.6% 20.3% 10.7% 11.9% 5.0%

Source: OzTAM Metro 5 City, Ratings Survey Year, 6 February – 21 November 2022, excluding Easter 10/4/2022 – 23/4/2022, 18:00 – 23:59, Nine Primary, Seven Primary, 10 Primary, ABC Primary, SBS Primary, Key Demos + Total People, FTA Share, Consolidated 28 as at 22 November 2022

Linear Television - Free-to-air network shares
6pm to midnight - 2022 calendar year

18:00-MN Network Network Network
Network		 Network
Ppl 25-54 31.3% 27.4% 22.1% 12.2% 7.0%
Ppl 16-39 31.1% 28.4% 22.0% 12.2% 6.3%
GS + Child 32.4% 27.2% 20.9% 12.9% 6.6%
Total Ind. 29.0% 28.6% 16.6% 16.9% 8.9%

Source:  OzTAM Metro 5 City, 1 January 2022 – 21 November 2022, 18:00 – 23:59, Network Nine, Network Seven, Network 10, ABC Network, SBS Network, Key Demos + Total People, FTA Share, Consolidated 28 as at 22 November 2022

Linear Television - Free free-to-air primary channel shares
6pm to midnight - 2022 calendar year

18:00-MN
Ppl 25-54 23.0% 19.3% 14.8% 6.9% 3.1%
Ppl 16-39 23.6% 20.1% 14.7% 6.4% 2.6%
GS + Child 24.6% 19.9% 14.2% 6.7% 3.0%
Total Ind. 20.9% 20.0% 10.8% 11.7% 5.0%

Source: OzTAM Metro 5 City, 1 January 2022 – 24 November 2022, 18:00 – 23:59,Nine Primary, Seven Primary, 10 Primary, ABC Primary, SBS Primary, Key Demos + Total People, FTA Share, Consolidated 28 as at 25 November 2022

Nine has the biggest shows in Australia 

No. 1 reality television series - Married at First Sight

No. 2 reality television series - The Block

No. 2 new reality television series - My Mum Your Dad

No. 1 light entertainment series - Lego Masters

No. 1 drama special event - Underbelly: Vanishing Act Part 1 & 2

No. 2 commercial free-to-air drama - The Thing About Pam

No. 1 new commercial free-to-air Australian drama - After the Verdict

No. 1 current affairs program - A Current Affair

No. 1 weekly commercial free-to-air current affairs program - 60 Minutes

No. 1 sports event - 2022 Australian Open Women's Final - Barty v Collins

No. 2-4 winter sporting event - State of Origin I, II, III

Source: OzTAM Metro (5 City Metro) + Regional TAM Regional (Combined Agg Mkts), 1 Jan - 23 Nov 2022, excludes "ENCORE" "RPT" "R" "MASTERCLASS", Programs grouped based on primary description and by genre (L1 / L2 where applicable / L3 where applicable), FTA primary + multi channels, Total People, AUD (ranked on Metro + Regional), consolidated 28 data (at 24 Nov 22)

RANK PROGRAM TOTAL TV UPLIFT ON OVERNIGHT
1 MARRIED AT FIRST SIGHT 1,996,000 55%
2 UNDERBELLY: VANISHING ACT 1,621,000 60%
3 THE BLOCK 1,607,000 35%
4 LEGO MASTERS 1,283,000 49%
5 62ND ANNUAL TV WEEK LOGIE AWARDS 1,240,000 7%
6 THE FUNERAL OF HM QUEEN ELIZABETH II 1,230,000 12%
7 NINE NEWS SUNDAY 1,221,000 4%
8 THE FUNERAL OF HM QUEEN ELIZABETH II -ARRIVAL 1,216,000 10%
9 62ND ANNUAL TV WEEK LOGIE AWARDS -ARRIVALS 1,212,000 7%
10 THE FUNERAL OF HM QUEEN ELIZABETH II -PROCESSION 1,181,000 11%
11 TRAVEL GUIDES 1,165,000 35%
12 NINE NEWS 1,135,000 3%
13 NINE NEWS 6:30 1,121,000 4%
14 A CURRENT AFFAIR 930,000 5%
15 NINE NEWS SATURDAY 919,000 3%
16 60 MINUTES - THE GREAT DEBATE 919,000 13%
17 AUSTRALIAN NINJA WARRIOR 872,000 23%
18 60 MINUTES 854,000 17%
19 BEAUTY AND THE GEEK 826,000 36%
20 AUSTRALIAN NINJA WARRIOR -RECORD BREAKERS 778,000 21%

 

Source: OzTAM Metro (5 City Metro) + Regional TAM (Combined Agg Mkts), 1 Jan - 23 Nov 2022, Nine/9GO!/9Gem/9Life/9Rush, excludes ENCORE/RPT/(R) & Genres Sports/Other Sports/Special Sports Events, Total People, AUD (ranked on metro + regional C28 data), overnight + time shift 28. Data as at 24 Nov 2022

Source: OzTAM Live + VOD VPM, Consolidated 28, Nine Only, 1 Jan - 19 Nov 2022, includes coviewing on connected tv devices

For more information

Terry Stuart
Senior Communications Manager
tstuart@nine.com.au

Adrian Motte
Senior Communications Manager
amotte@nine.com.au

Contact us for more information on how your brand can leverage the power of premium content on Nine to deliver real business outcomes.

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In Conversation With Cosima Marriner

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Cosima Marriner started her career as a journalist at the epicentre of one of the great fevered moments in our history.

Working as a freshly graduated journalist on what was then Kerry Packer’s Australian Personal Computer magazine in 1999, Marriner found herself reporting on the frenzy of the dotcom boom as well as the near-certain doom of the Y2K bug. It was a crazy world of stupendous valuations for worthless businesses and prophecies of doom that never came to pass. It was also a foreshadowing of where her career would lead.

Like most journalists who graduated from those heady IT publishing days Marriner has certainly gone on to bigger and better things. In a recent interview with B&T's Editor-in-Chief David Hovenden, Cosima talks about jumping from the magazine world in Sydney’s Park St, and buckling up for a 20-year stint at the then Fairfax’s Sydney Morning Herald before recently being appointed managing editor of the Australian Financial Review.

// SO HOW ARE YOU FINDING THE SHIFT TO THE FINANCIAL REVIEW?

I really like it. I was at the Herald for a very long time and did a variety jobs.

So it’s been pretty refreshing and invigorating to go somewhere which is still in the family. It’s not different culturally, but different enough to be stimulating. Also, the great thing about the Financial Review is that it has a very defined audience and market niche. It makes it a lot easier when you’re trying to achieve new things because you’re not trying to appeal to everyone. You have a specific reader in mind as you’re writing.

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// Do you think that readership has changed a great deal?

It’s definitely changing. The audience is getting younger, and it is different to the previous Financial Review audience, which was very corporate and career-path orientated.

We still have a chunk of those in professional services, legal and the like. But we also have these new investor types that are dabbling in crypto or whatever. They just want to grow their wealth independently. They’re entrepreneurially minded people with a slightly different mindset to our traditional audience.

The other thing that’s very interesting is the growth in our female audience, which I am particularly focused on.

More and more women are taking key leadership roles in business and politics. You saw the success of the Teal movement at the election. The Federal Labor cabinet has 10 women in it, Woodside, Telstra, Optus – they’re all big companies that are run by female CEOs now.

A lot more women are investing in the stock market. There is a huge market there that we need to capture and represent and appeal to.

// There hasn’t been a single woman appointed to an ASX 200 board for two years. So, there’s a lot of work to be done on the equality front.

I think the Financial Review has a key role to play in accelerating that change. Showcasing female achievements, female views. Proving that it’s not just all men in suits. I think it sort of becomes a bit of a virtuous cycle.

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// Weekend readership is a success story for the AFR.

Speaking as a former editor of a Sunday paper, the great thing about the weekend is having an audience that has the time to sit back and engage with a print product in a way they don’t during the week. AFR Weekend  has really captured that trend, and COVID turbocharged growth in our weekend audience.

The beauty of AFR Weekend is that you not only have the C-Suite reading and engaging with our content
like they do during the week, you also have their partners. You get both members of the couple reading,
making decisions together about holidays, cars and investments. You have a broader offering in AFR
Weekend because you have a broader audience.

The editor, Andrew Burke, has done a great job in capturing the best of core Financial Review content, which is general business, politics, investment news, but also a bit of a lighter tone. Going with longer reads, wrapping up the week, including stories about the culture and the zeitgeist.

So it’s a good mix of core Financial Review with a broader remit, which resonates with readers. Two-
thirds of people who read the weekend AFR print edition buy it from their local newsagent so they have
to make a trip to get it, which is a great testament to the quality of the product.

// You’ve got a new inserted magazine, Fin!, as well. Tell me about that.

All credit goes to Matt Drummond the editor of AFR Magazine who came up with the concept of a new lifestyle magazine and managed to get a chunk of advertisers on board, which has underwritten it. It’s a great magazine doing fantastically well.

// What’s the proposition between that and the historic AFR magazine?

It’s much more lifestyle oriented – fashion, design, travel, style. And our digital audience data tells us that our subscribers really want that lifestyle content. It’s very well read and it improves subscriber retention. When we look at all our audience data we see that lifestyle content is one of the key drivers of conversion to subscription.

Readers that are into the lifestyle content are less likely to churn, which is very important. So we need to create more of this content. During the pandemic we shut a lot of our bespoke magazines and concentrated on the core ones. Fin! is the first new magazine product post-pandemic that we've done.

// What’s next in the pipeline? You must have a long list of KPIs in your new role.

Yes, the thing that attracted me to this role was the focus on subscriber growth and business development.

The good thing about the Financial Review is that it has done so well during the pandemic, but there are still so many growth opportunities available to us. If you want authority and trust you can’t beat the Financial Review. It’s just a question of prioritising what we should do first, and then what we should do next.

We want to give people bigger opportunities, more 360 opportunities to engage with the Financial Review, with more events, more lists, more podcasts, and more innovations like the NFT cover we did for the Power List in 2021.

Without giving too much commercially sensitive information away, we're going to expand our very successful events business. You’re going to see more summits this year. We’re going to be focusing on mining, workforce, investment and cybersecurity.

We’re also going to expand our successful lists business. And as part of that, which dovetails with the sharper focus on women, we’re going to extend our Rich Women list franchise, expanding the number of women that are included on that list. And we’re also going to create some additional content around that. The other focus for us is the B2B market. A lot of our growth during the pandemic came from the B2C segment, so we’ve now got a huge opportunity to drive B2B subscriptions. They’re natural Financial Review subscribers and they’re much less likely to churn. So we’re doubling down on targeting particular segments within that B2B audience.

We are also expanding our podcasts. We have recently launched two new podcasts – Chanticleer, featuring Australia’s most influential business columnists, Tony Boyd and James Thomson in conversation, and The Fin, a weekly news podcast hosted by Lisa Murray. Next year there will be new seasons of Julie-anne Sprague’s How I Made It, our very successful podcast from within the Rich List brand. And then we’ve got our Tech Zero podcast, which is all about how companies are adapting to reach net zero. That reaches a very powerful audience and has also been very successful from an advertising point of view.

Explore The Australian Financial Review here.

Find out how your brand can leverage the power of Nine's Publishing assets to drive business outcomes. Request more information.

Cost of living crunch tops climate change, healthcare as top concern for Aussies – but here’s why pure price promotion won’t save you

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Thought Leadership

Cost of living crunch tops climate change, healthcare as top concern for Aussies – but here’s why pure price promotion won’t save you

Six in 10 Australians are kept awake at night by the rising cost of living, new Powered by Nine research has found, yet consumer spending remains strong. How should marketers navigate these uncertain waters? As Powered by Nine’s Toby Boon writes, reaching the consideration set while competitors race to the bottom on price can deliver market-share gold.

Cost of living is the number one social concern for 60 per cent of Australians, ahead of climate change and healthcare, according to Powered by Nine’s latest Cultural Conversation research, 'The Revolution will be Advertised'.

The study is the latest to flag growing concerns over rising prices. In recent months the likes of Beyond Blue, Australian National University, JWS Research and consumer group CHOICE have all released survey results highlighting the pressures on everyday spending as the issue keeping Aussie consumers up at night.

That’s backed up by both the most recent ANZ-Roy Morgan Consumer Confidence Index and the Westpac-Melbourne Institute Index of Consumer Sentiment dropping back from a September bounce.

Marketers might therefore be forgiven a degree of confusion, as consumer spending remains relatively strong against this less than rosy backdrop.

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Toby Boon
Director of Strategy & Insights
Powered by Nine

But while the headlines may be sending mixed messages, marketers need only look a little deeper to find some degree of clarity. Consumer Pulse, Nine’s monthly survey canvassing the attitudes, purchase intent and mood of more than 2,000 Australians across our television, radio, print and digital audiences, has been tracking trends in consumer sentiment since early 2020.

The most recent Consumer Pulse found that while the majority of respondents (55 per cent) feel that they are in a comfortable financial position, for the key 18-54 demographic the average dips to 46 per cent – with consumers particularly feeling the crunch on groceries, utilities and fuel. Twenty per cent of that same audience are feeling under pressure financially.

It would be tempting, therefore, for marketers to rush towards tactical, price-based messaging. Of course, there are benefits to this approach – driving sales, and letting customers know that your brand has their back in tough times. But that is only part of the story. Beyond the need to manage their budget, consumers appear to be sending a signal that the next three months will be about cutting things back, not cutting them out completely. Meal delivery might be once a week, rather than twice. Trips to the cinema might be substituted for streaming the latest release on Pay-Per-View or SVOD.

Rather than denying themselves completely, Australians will become more selective in how and where they purchase. The survey showed 84 per cent are happy to pay more for quality, with a similar number (83 per cent) feeling more confident when they know that they are getting a superior product or service. There is a baseline “quality of life” that Aussies expect to enjoy, and most don’t anticipate that they will decrease spend on the essentials (e.g. groceries, utilities, telco, insurance).

Even on “nice to have” spending categories, such as holidays, pets and subscription TV, the majority of Nine’s audience have yet to reduce their financial outlay. In fact, more than one in five consider their SVOD subscriptions to be permanent “must haves” and one in four feel the same way about their news subscriptions.

As Australians leverage this selective spending power, key priorities for marketers must be growing market share and owning more space amongst the consideration set.

When competitors are racing to the bottom on price, the winning brands will be the ones achieving both reach and dominating the consideration phase in order to differentiate their products and make them memorable.

The temptation to play it safe in an unpredictable market is understandable, but when this becomes the universal response across an entire category we’re left not with impactful messages but tactical advertising as cultural wallpaper. There is an opportunity for brands that embrace deeper partnerships, bold creativity and integration to lead the pack.

In fact, brands might best succeed by mirroring the behaviour of their customer base – leaning into quality over quantity, and investing with media owners that can deliver big ideas via a full-funnel, cross-platform partnership at scale.

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Powered Unpacked: the winning ad of Nine’s State of Originality million

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Menulog: the winning ad of Nine's State of Originality million

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How to win audiences and a million dollars in media: Own your mistakes, solve them with creativity, move fast - and ask 'What would Wendell Sailor do?'

Vulnerability, wit and irreverence: Thinkerbell's Adam Ferrier and Nine’s Michele O’Neill unpack what makes a million dollar-winning ad after Menulog’s rapid readjustment won over State of Origin audiences – and the State of Originality judges.

The winning ad

How to win a million dollars in media? Shoot Wendell Sailor brushing his teeth. After a State of Origin campaign drew less than glowing feedback from some fans, Menulog quickly read the room – trusting Thinkerbell to deliver something fresher, fast. 

Whilst the anthemic global ad was a hit with some fans, for others it lacked a clear cultural connection to a distinctly local event. But Menulog’s rapid response brought home the bacon – and the $1 million State of Originality media prize from Nine for best creative use of the platform.

The Katy Perry ad, aired on high repetition during Origin One, “received, er, mixed reviews”, per Thinkerbell’s Adam Ferrier. But the brand took the criticism on the chin and decided to do something about it before the second game in the series, 10 days later.

When in doubt, Wendell

The solution was to go back to basics and “re-instill Menulog’s brand proposition, which is around bringing unexpected moments of joy to people,” says Ferrier. How? Call in dual code legend Wendell Sailor – and hand him a toothbrush.

“We shot three ads with Wendell where he doesn’t do a whole lot. If we were accused of being a bit over the top in Game One, then we wanted to have a really restrained, creatively neutral ad for Game Two,” adds Ferrier.

“So in response to fans saying ‘What are you doing? [the Katy Perry ad] is completely over the top for State of Origin’, we put a State of Origin icon in the ad, showed him not doing too much, had a bit of irreverence and played that back to the audience – and they loved it.”

Menulog’s cheeky response to criticism was key to winning over fans, Ferrier suggests.

“It’s very rare these days for brands to lean into their foibles, dial it up and join in the conversation. Menulog was prepared to do that – and reaped the rewards in terms of changing consumer sentiment around almost immediately. It was great.”

 

Million-dollar question, answered

The rapid response was what set Menulog apart with State of Originality judges, according to Michele O’Neill, Director, Powered Enterprise.

“We were looking at strategy, emotion, craft – and originality was a really big part of it. Not all the work that showed up was particularly original. But one thing that galvanised the judges was its agility – and the fact that Menulog was listening,” says O’Neill. “Another CMO could have just ridden it out. But instead, they really seized the moment.”

In other words, from Powered by Nine's Director of Strategy & Insights, Toby Boon, “it was a diamond made under pressure”.

Thinkerbell’s Ferrier agrees, but both agency and brand were aligned on the need to engage – and there was no option other than to move fast.

“There were 10 days between State of Origin One and Two. So from concept to execution for the three ads was really, really quick. It couldn’t have happened if we weren’t on the same page.”

Own your mistakes, win

Ferrier, a consumer psychologist, credits Menulog for leaning into its fears and owning its mistakes. “People love it when brands do that, there’s a real authenticity – we knew we were on a sure footing because the psychology behind the campaign is something people respect.”

He thinks more brands would benefit from showing vulnerability. “It’s a massive opportunity for marketers,” says Ferrier, pointing to the gains made by KFC in the UK when restaurants ran out of chicken, flipping its brand to apologise via an ad reading “Fck, we’re sorry”.

“When brands lean into the mistakes they make, consumers love it – and it’s amazing it doesn’t happen more often.”

That approach requires a strong foundation of trust between brand and agency, which can only be built over time, according to Michele O’Neill, who spent the best part of three decades as a global planning and strategy lead in London and Paris before returning to Australia. But when brands and agencies trust each other to experiment – and occasionally fail – the longer-term results, and partnership, are stronger.

Ferrier says that approach also fosters greater creativity, in turn raising marketing’s standing within corporate hierarchies.

“Marketers used to be desperate to try and understand the language of the board and the CEO – thinking they had to speak a whole different language to get their attention. Whereas now, I think the board and the CEO are looking at the CMO thinking, ‘In my entire organisation, that’s the person who understands consumer and brand intangible value and creativity. That’s the person I want to get to know’,” suggests Ferrier.

“That person is starting to have much more influence within organisations – and so we’re seeing businesses becoming more brand-led and using the secret weapon of creativity to make stuff happen.”

Brands: plan ahead

Brands keen to creatively harness major cultural moments – should plan ahead, urges Michele O’Neill.

“I’d suggest for everyone that they start thinking earlier about how they bring big ideas to the table, because there’s this moment in time when everyone’s going to be watching – there were over three million this year across linear and BVOD,” she says.

“Those sort of moments in time galvanise people, they give them conversations for days afterwards, and everyone will be watching again next year.”

Click here to explore more from Menulog's winning ad

View more marketing insights from Powered By Nine

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Nine Upfront 2023

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Our Purpose

At Nine, we shape culture by sparking conversations, challenging perspectives, informing and entertaining our communities.

We bring people together by celebrating the big occasions and connecting the everyday moments.

Australia belongs here.

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Recap on Nine Upfront 2023

Find out more about Nine's 2023 key announcements.

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Contact us for more information on how your brand can leverage the power of Nine in 2023 to deliver real business outcomes.

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Loved by Aussies Made for Brands

LovedByAussies

 

Tell your story
with Nine in 2022

To build your brand and drive a positive sales impact, you need to think Total TV. And there’s nowhere like Nine that has television in all shapes and sizes covered.

We can help you craft your brand story in and around some of Australia’s biggest marketing moments, in the most effective way possible.

So why wait? Grow your brand with Nine by unlocking the power of content that Aussies love to watch, combined with the reach and scale of Total TV.

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TV's biggest moments
start right here

From My Mum Your Dad, Love Island Australia, Snackmasters, LEGO® Masters Bricksmas and more still to come, there’s plenty of opportunity available to harness the power of great Australian content with Nine.

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Still to come in 2022

All
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https://www.nineforbrands.com.au/core-content/healing-home/

Schedule is indicative only. Subject to change.

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With Nine you reach the
audience you are chasing

LINEAR TELEVISION - NETWORK COMMERCIAL SHARE
SURVEY YEAR TO DATE

18:00-MN
P25-54 38.4% 34.3% 37.3%
P16-39 37.6% 35.1% 27.3%
GS+CH 40.1% 33.9% 26.0%
Source: OzTAM Metro 5 City, Network Nine, Network Seven, Network 10, Channel 9, Channel 7, Channel 10, Key Demos, Commercial Share, 18:00 – 22:29, Consolidated 7 as at Saturday 19/11/2022.

LINEAR TELEVISION - PRIMARY CHANNEL COMMERCIAL SHARE
SURVEY YEAR TO DATE

18:00-MN
Total People 28.0% 27.3% 14.5%
P25-54 28.2% 24.3% 18.3%
P16-39 28.6% 24.9% 18.3%
GS+CH 30.6% 25.0% 17.6%
Source: OzTAM Metro 5 City, Channel 9, Channel 7, Channel 10, Key Demos + Total People, Primary Channel Commercial Share, 18:00 – 22:29, Consolidated 7 as at Saturday 19/11/2022.

BVOD COMMERCIAL SHARES:
2022 RATINGS SURVEY PERIOD

LIVE + VOD
Total People 48.3% 37.1% 14.5%
People 25-54 49.2% 36.3% 14.5%
People 18-39 51.3% 35.5% 13.3%

Source: OzTAM Live + VOD VPM, CFTA Only, 6 Feb - 9 Apr & 24 Apr - 19 Nov 2022, metric minutes, includes coviewing on connected tv devices. 

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Australian content delivers
real, effective outcomes

Check out some of the ways we've helped brands connect utilising the biggest TV formats in Australia

An all-encompassing plan of integration leveraging Alicia Molik allowed Swinburne Online to tell a deeper story

The Nine and Swinburne Online integrated partnership included ‘Quality Coaching’ content led by Alicia Molik, adding depth to Swinburne’s teaching quality message, distributed at scale.

Check out how Swinburne Online aligned with 'analyser' technology across broadcast and Wide World of Sports digital channels. More.

Domain's in-program integration was celebrated across the entire season of The Block

A partnership between Australia’s home of property, Domain, and Australia’s longest running renovation program, The Block, was the perfect match. A campaign designed to showcase all the ways Domain and their products can help property owners and seekers buy, rent, or sell their home with ease.

Check out how Domain’s in-program integration was built out across the entire Block journey. More.

The power of an NRL Finals sponsorship in delivering high impact marketing moments

DoorDash wanted to position their brand as the NRL’s only convenience ‘On-demand Delivery Partner’ providing enhanced services through broader retail partnerships.

Nine's solution leveraged the power of integrated broadcast assets including a situational content series with Nine talent and AR ball delivery.

The result? A significant increase in awareness, consideration and the largest number of new users acquired in one day during the NRL Grand Final activations on Nine. More.

Explore Brands

It's time to unlock the power of content Aussies love with Australia's leading Total TV broadcaster.

Contact us for more information on how your brand can leverage the power of premium content on Nine to deliver real business outcomes.

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Tennis on Nine 2023 – Advantage You

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We know the tennis audience of today commands the upper hand. Sport doesn’t stand still, and neither can its coverage. The audience expectation of sport is changing and Nine is at the next evolution of sport consumption, with tennis is at the forefront.​

​Year on year, audiences are engrossed and inspired by the stories of tenacity, triumph, loss and pride that tennis brings. Following the journey of the athletes that put it all on the line to win. And it's no doubt we are seeing the next generation of superstars evolve the game right in front of our eyes. ​

With tennis proven to be the only summer platform to increase brand perceptions, Nine's Wide World of Sports will elevate sport to the next level in 2023. With significant investment into our total content ecosystem across television, publishing and audio. And cutting-edge technology that can take your brand even closer to the heart of the action than ever before.​

Advantage you.

To find out what your brand can achieve with a Tennis on Nine partnership, request a tailored response to help realise your marketing objectives.

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RECAP ON THE TENNIS 2023 LAUNCH

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Nine's content strategy and fan solution

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In conversation with the experts of the game

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The power of tennis on Nine is unmatched

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ONE NETWORK,

ALL FOUR GRAND SLAMS

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Nine is the only place in the country where you can access all four grand slams. 

Covering the greatest matches, played on the sport's grandest stages. From the blue courts of Melbourne, to the orange clay of Paris, to the green grass of Wimbledon, and of course, the hard courts of the US Open in New York.

NINE'S TOTAL CONTENT PROPOSITION

AN ALWAYS ON STRATEGY

Nine continues to heavily invest in our content and total media proposition to bring the best of tennis to fans, around the clock, no matter how they want to consume it. With a combination of assets that give our audiences something unique, across an unrivalled system of touchpoints that no other media company can offer.  ​

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TELEVISION & BVOD

Across our television offering, fans wake up in the morning to the Today Show to catch up on AO updates. Staying with us for our morning show, which sets up the day with all the previews, analysis and entertainment. And of course, all the Tennis highlights, in-depth opinion and feature stories are all covered across our weekly panel shows, Cross Court and Sports Sunday.
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MONTHLY AUDIENCE

PUBLISHING

Nine's publishing coverage is where the conversation starts about players' journeys, the evolution of the sport and the wider tennis community. We focus on serving in-depth content to our readers so they can consume a product that goes well beyond the headlines. Digitally we keep our finger on the pulse with live blogs, and beyond the court coverage of key matches from our team of expert writers.

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LISTENERS EACH WEEK

AUDIO

Our audio proposition is a direct line to the tennis fans of the nation. Every week, we’ll serve up in-depth game analysis with daily tournament coverage and expert commentary from our talent. Nine Radio allows you to create a deeper connection with fans through our live on-ground broadcasts and extend conversations throughout the tournaments. With TWO brand new Australian Open podcasts from the producers of Stories of Origin coming soon.

Source: OzTAM Metro + Regional TAM data, 17/01/2022 – 21/01/22, Nine Network + Nine Network Content Affiliates, Total People, Reach, contains “Australian Open”, Con 7 as at 01/02/2022. OzTAM Metro + Regional TAM data, 17/01/2022 – 30/01/22 v 08/02/2021 - 21/02/2021, Nine Network + Nine Network Content Affiliates, Total People, Reach, contains “Australian Open”, Con 7. OzTAM Live VPM, Australian Open, 2022 v 2021, includes coviewing on connected TV devices. Nielsen Digital Content Ratings, Monthly Tagged, December 2020, Current Events and Global News Sub Category, Text, People 2+, Census. Roy Morgan Research; people 14+ for the 12 months ending March 2022. GfK Radio Ratings, SMBP Survey 1 2022, Mon-Sun 5.30am-12MN, Cume (000s), TSL (HH:MM), Exclusive Commercial Cume Commercial only (000s), AP10+, Nine Radio – 2G, 3AW, 4BC, 6PR - *Source: Nielsen CMV, Metro Survey 3 2022, Fused Radio Data Cume (000s), Mon-Sun 5.30am-12MN, Nine Talk Radio - 2GB, 3AW, 4BC, 6PR AP14+ vs SMBP AP14+.

Source: TV MAP VOZ Analyser, VOZ Data 4.0 © OzTAM Pty Limited [2023], 16/01/2023 - 29/01/2023, includes 'Australian Open,' National, BVOD & Linear, Cumulative Reach, Total People
Source: Roy Morgan Research; People 14+ for the 12 months ending December 2022.
Sport Total Publishing = SMH Print Section (Sport) L4W or AGE Print Section (Sport) L4W or SMH - Sport Digital or AGE - Sport Digital or nine.com.au - Wide World of Sports
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OUR TENNIS TALENT ARE THE BEST IN THE WORLD
THEY ARE TRUE EXPERTS

We’ve got the best tennis talent in the world in our all-star team of commentators and experts. They tell the stories behind the game, because we have unrivalled access to the players like no-one else.​

immersive technology is
giving audiences the advantage

We know technologies like artificial intelligence, mixed and extended reality are set to transform everything from talent spotting to gameday performance, broadcasting, and reporting.

Innovation runs through the veins of tennis on Nine and next year will be no different. ​ ​

We know that fans look to us to keep their finger on the pulse of all the tennis action. This year we will continue to offer tennis fans access to the game in more ways than they ever have before.

We have the most cutting-edge technology employed to advantage your tennis viewing experience.

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BIG IDEAS THAT WILL GIVE
YOUR BRAND THE ADVANTAGE

We take great pride in our content expertise to create world class entertainment for all of Australia. This is underpinned by our marketing services team, Powered, which is built specifically to help your brand grab hold of big marketing moments.

What does this mean? We can help with brand or media strategy, or consumer insights or maybe even something as specialist as market mix modelling and econometrics. We have the expertise – all in house.

You might need help with creative strategy, with production of advertising material across TV, Audio, Print, Digital or Social.

Or maybe you want to better understand how your brand, your products and your financial expertise can be integrated into our content - whether that’s inside a TV show, a radio broadcast, or things like native or advertorial content across print and digital.

FanServe

The Australian Open is an ever-growing fan festival and next year we’ll introduce a sophisticated motion control robot, paired with a cinematic high-speed camera to capture dynamic video portrait sequences of fans on ground - aligning beautifully with the festival and grandeur of the Australian Open.

Mixed reality delivers a blend of physical and digital worlds, unlocking natural and intuitive 3D human, computer and environmental interactions. It takes the existing state on the court with players and crowds to an enhanced reality where we see both real and virtual worlds collide using next generation sensing and imaging technologies.

THE GRAND SLAM CHAMPION OF
CREATIVITY AND RESULTS

Tennis is a great opportunity to realise big ideas that make advertising famous. Let’s take a closer look at how brands effectively used the power of the Australian Open 2022 to deliver their marketing dreams.

AOxVisitVIC

VISIT VIC OWNED THE AO COVERAGE FROM EVERY ANGLE
TO INSPIRE AUSTRALIANS TO LIVE LIFE FOR NOW

CHALLENGE

Position Melbourne as the open, vibrant, energetic and thriving major events capital of Australia.

INSPIRED BY

After a prolonged period of life "on pause," Australians are getting up to live for the now. Summer in 2022 will be about not settling—leaning into impulse and spontaneity as we keep exploring, keep discovering and making up for lost time.

SOLUTION

Harness the positive energy and optimism of the Summer of Tennis to showcase that Melbourne is truly alive and ready to explore through ownership of Court Nine.

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SHAE KEENAN

Chief Marketing Officer,
Visit Victoria

"The 2022 broadcast was where we really pushed the partnership beyond spots and dots and squeeze backs. We were able to fully integrate our key messages and campaign assets through the full suite of Nine’s assets and channels to create a significant impact for Melbourne and its tourism industry in new and innovative ways."

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YOUR HOME OF TENNIS
IN 2023

advantage you

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Harness the power of Tennis on Nine in 2023. For further information, please contact your Nine representative or complete the form, and a member will be in touch.

Request more information - GENERIC

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