Brands
Deriving further insights from TAM data after a psychographic definition
TV Pulse 2005, the annual research initiative put together by the Joint Industry Body (JIB) and Tam Media, series continues with the paper – Deriving further insights from TAM data after a psychographic definition.
The paper by Paper contributed by ATG, Group-M attempts to describe one such exercise undertaken by MCI in conjunction with TAM.
One common issue with marketers of high-end products is defining their target audience through a combination of demographics and psychographics. In-depths, pen-portraits etc yield particular psychographic traits that possibly are unique to this particular category’s consumers. However, media planning and buying requires quantification. Therefore, key questions addressed in this paper are:
- How does one size up a psychographic target?
- What are ways in which one can then derive some broad media consumption learning?
- How can one then, use some kind of ‘bridge’ definition of a TA that would help one analyze dynamic media information through viewership databases like TAM?
Preamble viewership of channels with international news and entertainment could comprise of broadly two kinds of audiences. One is that segment which is genuinely interested in such programming as against other viewers who just dabble with such channels. Marketers who advertise in such channels are more interested in reaching the former. The latter would either not be part of their source of business volumes or could be reached through other cost efficient methods.
The objective, therefore of the analysis were:
- To determine the various audience clusters of Category X and size up those who are skewed to English programming (International Entertainment and News)
- RLD analysis of heavy viewers of English entertainment and the skewness of various channels on this definition of the TA.
This detailed paper clearly showed that combining a psychographic definition along with a special analysis using TV data helped make a smarter channel selection for this brand.
The primary objective is to substantiate the hyphothesis that Category X consumption is skewed to a particular cluster which is characterised by heavy viewing of English programming. Also, it is to determine the overall size of this cluster in the broad demographic. This is important, as a marketing manager should avoid over/under-estimating the size of this up-market audience. A realistic idea of the size would help fix some kind of budget allocation across various audience clusters.
The second objective would help answer which of the programming driven channels have a greater composition of hard-core international programming viewers‘ vs the ‘dabblers‘, as has been elaborated in the preamble. An extensive battery of over 290 statements allows the analyst to do various combinations before finalising on clusters that are internally homogenous and yet differentiated across.
The paper points out that combining a psychographic definition along with a special analysis using TV data helps make a smarter channel selection for this brand.
Brands
UK’s OnlyFans seeks US investor at $3bn valuation after owner’s death
The adult video platform is seeking stability after the death of its billionaire owner
LONDON: OnlyFans is looking for a new partner. The London-based adult video platform is in advanced talks to sell a minority stake of less than 20 per cent to Architect Capital, a San Francisco-based investment firm, in a deal that would value the business at more than $3bn (£2.2bn).
The move is driven by an urgent need for stability. Leonid Radvinsky, the Ukrainian-American billionaire who owned OnlyFans, died of cancer last month at the age of 43, leaving the future of one of Britain’s most profitable privately held businesses suddenly uncertain.
The choice of Architect Capital is not arbitrary. The firm has deep expertise in financial services, which aligns neatly with OnlyFans’ ambitions to offer banking products to its creators, many of whom have long struggled to access basic financial services because of the nature of their work.
The numbers behind OnlyFans are, by any measure, staggering. The platform posted revenues of $1.4bn in the year to 30th November 2024, with a pre-tax profit of $684m, up four per cent on the prior year. Payments to creators totalled $7.2bn over the same period, a rise of nearly ten per cent. Radvinsky personally collected $701m in dividends from the business in 2024 alone, on top of more than $1bn in such payments he had already received. The platform, run through its parent company Felix International, hosts 4.6m creator accounts, with performers keeping 80 per cent of subscription proceeds and the platform pocketing the remaining 20 per cent. It has 377m fan accounts in total.
The current minority stake talks represent a notable scaling back of ambitions. In January, OnlyFans was reported to be in discussions with Architect about selling a majority stake of 60 per cent. Before that, the company had explored a sale to a consortium led by Forest Road Company, a Los Angeles-based investment firm. Neither deal materialised.
OnlyFans has built an enormously lucrative business on content that mainstream finance has long refused to touch. Now, with its owner gone and a $3bn valuation on the table, it is looking for the kind of respectable institutional backing that might finally persuade the banks to take its calls.
