Little by little, the wild and romantic Ruinaulta is becoming a magnet for visitors from near and far. It will soon be possible to walk the entire length of the gorge. From the new year, the "Ruinaulta", with a circulation of around 8,000 copies, will also be available to read, according to a press release issued on Friday by Südostschweiz Medien (which also owns Werbewoche).

Just like the "Rhiiblatt" and the "Arena Alva", the "Ruinaulta" provides a weekly record of events in the municipalities from Ilanz to Felsberg. Marc Holdener and Judith Sacchi are responsible for the editorial content. Both are experienced "Rhiiblatt" editors. In addition to reports from the region, the newspaper contains club news and official publications from the municipalities. One reason for merging the "Arena Alva" and the "Rhiiblatt" is the "2015 regional reform". The idea of serving the region to the left and right of the Rhine Gorge and the neighboring municipalities with joint information also played a role. The increased circulation is also intended to offer businesses an extended advertising platform.

In addition to the printed newspaper, the "Ruinaulta" can also be obtained electronically as an epaper via the Suedostschweiz.ch portal. Unlike the printed edition, the electronic newspaper will be available to download the day before. There will be no other changes for subscribers to the "Arena Alva" and the "Rhiiblatt". They will simply receive their usual local newspaper under the new title from 2014. The "Ruinaulta" can be subscribed to for CHF 93 via the subscription service of Südostschweiz Medien.
 

The campaign looks back at Biovision's projects and milestones and highlights issues that the Zurich-based foundation intends to continue to work on in the future: increasing yields among small farmers through ecological and sustainable agriculture, promoting women, imparting knowledge and combating malaria and animal diseases are some examples.

In September 2013, Dr. Hans Rudolf Herren received the Alternative Nobel Prize, a special award for his commitment with the Biovision Foundation. He was the first Swiss laureate in this category, honored for his work to feed the world's population through organic agriculture.

The anniversary will also be the focus of the Biovision Symposium on November 30, 2013 at the Volkshaus Zurich, for which Rebel designed the invitations. Guest speaker Maya Graf, President of the National Council, Dr. Hans Rudolf Herren, Founder and President of Biovision, Mercy Kiyapyap, Project Manager from Kenya and other speakers from 15 years of project work for ecological development will be present.

Responsible at Biovision: Andreas Schriber (Publishing Director), Nina Zenklusen (Editor), David Fritz (Text), Ueli Würmli (Text), Peter Lüthi (Photo), Reto Baumann (Photo), Verena Albertin (Photo), Flurina Wartmann (Photo), Jürg Weber (Production). Responsible at Rebel: Kris Goricanec (overall responsibility), Lou Doran (creative), Andrej Bigler (creative).

 

The ADC Awards are the annual juries of the Art Directors Club Switzerland. It has long since moved beyond advertising to encompass virtually all aspects of the creative industries, including digital, design, film, photography, illustration and now sound.

Works can be submitted until December 6, 2013 on the website Adc.ch be submitted. The award ceremony will take place on February 1, 2014.
 

Scandals have their regularity, one might think: The revelation is followed by the media and politicians charging and enriching it, it ends in a resignation, an apology or criminal proceedings, sometimes even in changes to the law. But, of course, only if the media professionals making the revelations have worked seriously. However, even nasty accusations end without scandal if nobody wants to be outraged, whatever the motives (consideration? dependency?).

Specifically: In Weltwoche, the retired journalist Urs Paul Engeler publishes a total slating of FDP President Philipp Müller, based on SVP positions. However, he also mentions: "In a witty conversation with good colleagues, he warns (always with a cowardly ban on quoting him verbatim) of an 'impending negation' of Switzerland." He also describes Müller as anti-African. As a reminder: Müller began his national political career as a propagandist of xenophobic issues and initiatives, usually without making defamatory remarks about foreigners. This was in contrast to the traditional xenophobes, such as the Swiss Democrats (SD). However, the aim of the political initiatives was no different: to make it more difficult for foreigners to enter and settle in Switzerland and to weaken their rights, whether in terms of entry, the labor market or access to political rights. This is still the case today. Just recently, the FDP party president called on the Council of States to follow the National Council's anti-naturalization stance on the new naturalization law.

There is another story: In spring 2002, Müller writes to the columnist, also the author of the chronology "Racism in Switzerland": it seems to him "very questionable that a publication deals exclusively with incidents involving foreigners". It is in the nature of racism and discrimination that it is directed against minorities, even if the victims have a Swiss passport. The columnist also cites an attack by three young Swiss men on a Swiss man of black skin as evidence. Müller dismisses this with the comment that the victim was hardly recognizable as a typical Swiss. So is he a Swiss with limited rights? Engeler's accusation is explosive; the terms "Vernegerung" and "Verjudung" come from National Socialist jargon, not to mention the fact that the term "Negro" is derogatory. But it was not until two days later that the Tages-Anzeiger published a carefully worded summary. Müller says for the first time what he will repeat in the coming days: "It is well known that Mr. Engeler has been systematically and viciously attacking FDP politicians such as Federal Councillors Johann Schneider-Ammann and Didier Burkhalter, Karin Keller-Sutter and myself for years. The latest tirade fits perfectly into this scurrilous collection of misrepresentations and distorted facts by this writer." Wherever Müller makes himself heard, he never explicitly denies the accusation, not even on his homepage. He also told Blick-Online that he would not be filing a defamation suit. The tabloid leaves it at that.

Would things have been different a few years ago? Former Blick editor-in-chief Werner de Schepper, now at Tele Bärn, writes in the Aargauer Zeitung: "No president who stands on the ground of democracy can leave this accusation standing. It is too outrageous for that." Then there is media silence. Only questions remain: Do journalists and politicians already regard Weltwoche and Urs Paul Engeler as so untrustworthy that they no longer respond to their accusations? Are the editorial offices afraid that they will become part of an SVP campaign to discipline the FDP and therefore refrain from asking further questions? Is this still critical journalism? Or do media professionals only consider racist statements to be an issue if they come from right-wing extremists or SVP men?

Hans Stutz, Lucerne.
Journalist specializing in racism and right-wing extremism, also a Green cantonal councillor.
 

In the last Advertising Week, our editor Isabel Imper dealt with a similar topic. She was talking about PR interviews. We let PR people, journalists and researchers have their say. In a comment to this article I wrote: "The growing influence of public relations on the topic setting and reporting of the media is a problem for their credibility. The step to becoming a PR post or a dull announcement medium is often smaller than one might think." That this statement is not simply plucked out of thin air is shown by the survey mentioned in the article, which Publicom conducted in 2007 and which found that a good half of the texts provided by the authorities were taken over unchanged by the editorial offices.

The Research Institute Public and Society (Fög) came to a similar conclusion in 2011 (Jahrbuch Qualität der Medien). In examining the influence of public relations in corporate reporting, the Fög found that "no less than 56 percent of corporate reporting is characterized by uncritically adopting the interpretive perspective of corporate PR." Media would thus become an advertising channel for corporate communications.

These results give pause for thought, all the more so because the situation has certainly not changed for the better in recent years. The reasons for this are well known. The pressure on editorial teams is increasing: Fewer and fewer people need to know about more and more topics in less and less time, and dossier knowledge is - if at all - only partial. This increases the likelihood that announcements from authorities and companies will be taken over unchanged. This is not about passing the buck.

The point is that both sides - journalists and those responsible for communications - should have a vital interest in preserving the credibility of the press. Because without credibility of the press title, the most beautiful PR text is of no use.

Pierre C. Meier, Editor-in-Chief [email protected]
 

What this is all about. This cheese logo is an ideal example to write a motz about the drive "everything has to be new" or "modern". Imagine if Rolls Royce redesigned the Emilie by Bottero and put the two "R "s in a different font. The "H" of Hermès, the "LV" of Louis Vuitton, the bird's nest of Nestlé, the "CC" of Coco Chanel, the Fraktur typeface of the NZZ, the Swiss or Christian cross or the bear from the coat of arms of the canton of Bern should urgently be adapted to the present time. Of course, the bear has to go. There are no more bears in Bern. Wrong!
 
My theory: The insiders' satiatedness with their own identity or the insistence of a designer lead to the fact that what is known on all sides or proven is thrown overboard or, as in the case of the cheese union, is made ugly. Thus, it becomes a two-dimensional three-cheese high. Everything about this re-design is wrong. The cheese is charred, the Swiss cross is superfluous and has been redesigned in incorrect proportions, and the font leaves gaps. All in all, a cramped tinkering and a gross defacement of Herbert Leupin's template. He was one of the great graphic artists of the 19th century (Knie, Eptinger, Coca-Cola). His son Thomy, with whom I went to school, should definitely tackle such messes legally. Amazing that the Cheese Union spent money on such an unserious and unnecessary deterioration retouche. At this point, many thanks to Mr. Jürg Zysset (a loyal reader) for his pertinent advice. Maybe we should introduce a design monument protection for such cases. No, not seriously. Such protector commissions mostly consist of apparatchiks and paragraph riders. I can sing a song about such protectors about my 1000-year-old house in Tuscany. Since its existence the form and function have changed x times. Today, however, any change is strictly forbidden, no matter if it would be sensible.
 
I will write a special column about this topic some day. In contrast to this cheese, I find Amag's appearance refreshing. Fortunately, it was not possible to adapt something clever from the old signet. I have previously described and praised the re-design from Federal Express to Fedex as an excellent change. As you can see, there is no formula for this problem. Common sense is what is needed here. Not a standout of the week was the obituary for Gebi Schregenberger by Doris Gisler, blaming Gebi for the disappearance of Gisler & Gisler. She was the owner after all. Gebi did not deserve that!  
 

 
Theophil Butz, graphic designer, Advertising agency owner, Inspirator and for over a year and a half also nor moths for the advertising week-Readers. Please send any relevant information to to [email protected]

In a packed house, more than 700 professionals honored domestic filmmaking at Zurich's Schiffbau on Thursday. The motto of the award show and party was "Forest Festival". Peter Beck, president of the Swissfilm Association says of the concept: "Once a year, everyone meets in the forest to hand out their Edis." The decoration, which was based on the stylistic device of the many trees, was correspondingly mysterious. Still, no one had to lose track of what was going on. As in the previous year, Mireille Jaton and Marco Fritsche competently and wittily led through the awards ceremony. This was interrupted by five show blocks. These were designed by DJ Sonos and a lot of hardcore techno sound.

Special Edi:

What a contrast between the product and the location. The story is told with subtle wit, the location fits it absolutely perfectly, as do the beautifully worked out details. This is worth a special Edi. for the script to the jury.

The film succeeds in showing a small town in the personal universes of its inhabitants. The realization is successful and sensitive on all levels. This touching homage to a town and its inhabitants is worth a special Edi. for directing from the jury.

Is it an art to adequately capture a breathtaking landscape with the camera? Yes, says the jury, because it took a lot of skill to make such a highly aesthetic film. The image dramaturgy and also the super colorgrading are worth a special Edi. for camera to the jury.

First the big meal and as soon as the bill comes, the lights go out. A great, professional work. This animation with 3D, stop-motion and keyframe animation is worth a special Edi. for animation to the jury.

Finally, once again a musical composition that manages to make the film extremely touching. The interplay of the music with the lyrical text and the images is perfect. The jury awards the Special Edi. for Music & Composition.

The film deals with a highly complex topic in a touching and surprising way. Despite formal alienation, closeness to the protagonists is created and awareness of the issue is raised. For this, the jury awards the Special Edi. for the concept.

This film does everything a good film must do. In a subtle way, the direction leads through the story until the surprising end. Ingeniously, the plot switches from an emotional relationship story to brutal reality. It touches and literally hits the heart. The jury awards the special Edi. for directing.

The wonderful aesthetic images, which, thanks to the visual effects, combine to form a small work of art, convinced the jury with the highest visual quality. They rewarded this with a special Edi. for Visual Effects.

The beautiful figures are detailed, the story exciting This high-quality animation and a well-told story with a -despite everything- charming ending made the jury fun and is worth her a special Edi. for animation.

Commercials for TV and cinema:

With all the stylistic means of great cinema, the round dance of a passionate love is skilfully spanned through space and time. In masterful interplay, image and music trace the ups and downs of a life to its supposedly happy end, leaving us in silence at the final twist. This was worth a bronze award to the jury.

A film that is fun to watch. First, because it avoids the well-known clichés. Covetousness doesn't need alpine meadows: That's smart thinking. Second, because the really funny dialogue is pointedly written. And thirdly, because of the inimitable laconism of simple people in the provinces: this is aptly staged. The jury rewards this achievement with a bronze Edi.

In great cinematographic style, this film celebrates an often overlooked aspect of the vacation, namely the levering of time. In numerous shots and situations, our well-known protagonists work to perfect the advertised product. And that was worth a Bronze Edi. to the jury.

Thanks to brilliant direction, this film succeeds in bringing an apt yet surprising short story rapidly to the point while at the same time conveying the didactic content in an understandable way. Gender and generation clichés are skillfully played with and broken again to create a vibrant image of reality in which the audience can immediately recognize itself with a smile. That was worth silver to the jury.

Elaborately staged, the film shows how a single click can make an entire community sit up and take notice. The TV spot convinced the jury with its heartfelt main character, a breathtaking backdrop, as well as its sense of dramaturgy and attention to detail. This thoroughly successful achievement is worth a Silver Edi. to the jury.

That it is impossible to force or plan happiness is obvious to any reasonable person. Nevertheless, the protagonist of this series suggests a causality between his pseudoscientific approach and his success in the game with determination. This results in an irony in perception, which is the appeal of this series. In addition, it impresses with its originality, coherent staging, witty dialogues, excellent acting and stylish visual realization. For this, the jury awards the Gold-Edi.

Corporate image films:

This film does not advertise a product and yet is extremely close to the product. And therefore makes the best advertising for it. A strong basic idea, consistently, credibly, charmingly and entertainingly implemented: The jury honors this with a silver Edi.

Corporate marketing films:

Impressive how a product is advertised via clichés. Successful concept and a direction that convinces; with which is played in an entertaining way with wit and self-irony. A good cast with acting excellence, with good timing and the punchline placed at the right moment. This was worth a Silver Edi. to the jury.

Corporate Internal Communication and Training:

The film impressively shows what motivated employees can achieve together. The "White Arena" in cool black and white, emotional images, cut to a suitable song - the perfect unity of camera, editing and music. The film thus achieves its goal of making employees proud of their employer and their destination. The jury has got an appetite for sun, snow and mountains and awards the work with a Bronze-Edi.

Television:

The trailer creatively brings together two elements - the London landmark Big Ben and Olympic sports. The tower mutates into a competition area and surprises with fascinating images and connections: the sprint track leads to dizzying heights, daredevil jumps with the mountain bike from the roof and the top of the tower becomes a high bar for artistic gymnastics. Light-footedly, the trailer is able to grab even non-sports enthusiasts for a moment. That was worth a silver award to the jury.

Multimedia and interactive mixed works:

High-class, creative implementation of a low-budget production. All the possibilities offered by such a promotion are used, be it the event in the train station concourse, the online live stream or the show case as a viral film. The focus is on the USP of the product (the Galaxy S4 has an eye control function): you have to look. If you look away, you lose! So much humor and creativity for the presentation of a technical feature was worth its weight in gold to the jury.

Commercials for other media/Internet clips:

Generates 100% attention, clearly communicates the most important messages with the authentic humor of the protagonist, whom we all know as a stereotype and therefore can not easily forget. This entertaining viral film in a fluid narrative style with purposefully inserted punchlines is something you want to share. This was worth a Gold-Edi. to the jury.

The Markom, Marketing and Sales Specialist and Marketing and Sales Manager courses will be run jointly in the new year, according to a press release issued on Thursday. Together, the two partners would each have a market share of between 20 and 25 percent in these courses.

According to the press release, both partners will benefit from the change: Sawi will gain direct access to the potential of KV Zürich Business and will be able to offer courses in a prime location, while KV Zürich Business School will gain even greater credibility in the aforementioned areas with the Sawi brand and direct access to the industry associations that belong to the Sawi association. Synergies would also be created in the marketing, planning and implementation of the various courses.
 

The Executive Board and the Board of Directors took up the issue a year and a half ago. The Executive Board set up a working group with the participation of representatives of the Management Association, which prepared the new regulations. Now, at the request of the Executive Board, this has been approved by the Board of Directors. The media company made the announcement in a statement on Thursday.

 

Do you know Rayneer? You should remember the name. According to the Bilanz of 1.4.13: "Rayneer recognizes the music tastes of the viewer based on their Facebook profile and creates a personalized music television." Rayneer is an app marketed by Goldbach in beta mode. According to Prioridata.com, the two major Google and Apple stores recorded 10.8 million app downloads in Switzerland in September. 5 million downloads are game apps, 800,000 social media apps and around 2 million tool apps. The unleashed mobile boom has caused app production to explode. Whether for entertainment, communication or carrying out activities of all kinds, apps are conquering our everyday lives. Rayneer shows why: successful apps are based on a clear idea, have a concrete benefit, are intuitive to use, playful, constantly updated and deliver personalized content. Traditional concept and implementation thinking in paper and website formats with rigid content, limited action options, a lack of real-time experiences and development processes that extend over departments and months are no longer an option in this user world. Fortunately, there are apps for advertisers and advertisers who design their first campaigns with apps. Shut up, apocalypse now:

What happens in the brain when ideas arise has been relatively well researched thanks to the well-known brain researcher and bestselling author Daniel Goleman: the brain is in a relaxed resting state, the so-called alpha rhythm - for example when walking, showering, listening to music or chatting - everyone has their own alpha moments. And then, without notice, an impulse, the gamma spike, connects two distant regions of the brain and gives rise to a completely new, unprecedented combination of thoughts: the aha momentum. However, useful ideas only emerge if we have been diligently feeding our thoughts beforehand. The question is how we can keep our knowledge up to date in an age of extreme diversity and dynamism. I would like to introduce you to three apps that I have been using intensively for more than a year now. group the articles and find them again very easily. The articles are displayed with pictures and large titles. Researching with Pocket is fun, and the app also works perfectly in all common PC browsers.

The Evernote app for all occasions

Similar to a conventional filing system, topic-specific folders can be created. Each folder can be filled with any number of notes. A note is a file in which you can enter entries using any conceivable method. You are out and about, photograph or film the poster of a competitor's advertisement, create a corresponding note and write or speak a comment about it. You can also copy in links and - my favorite - integrate PDFs. You can share individual notes or entire folders with others by generating a URL and making it accessible on any channel. The recipient is offered a specially maintained view of the note, comparable to a website. Evernote is therefore also very well suited for dynamic project work across teams or in exchanges with customers - for example for briefings or approval processes. Evernote is also very innovative and constantly offers welcome simplifications and new features.

Vine - The video revolver app

No creative campaign without the Vine app! With this video app from Twitter, 6-second short stories with an endless loop can be realized in a stop-and-go process and uploaded to the Vine social network. Optionally, the videos can also be uploaded directly from the app

The Pulse app for source diversity

The quality and variety of sources is crucial. With over 30 million users, the Pulse app is the largest news app and winner of the Apple Design Award. Pulse offers access to content from the world's leading media providers, including many from Switzerland. Users can add their own favorite sources as required. The sources are categorized by topic (e.g. Technology, Sports, Business, Lifestyle and Entertainment) or you can subscribe to best-of collections (e.g. Best of Lifestyle), special interests (e.g. Who What Wear) or the news of your favourite brand (e.g. Coca-Cola Conversations). If you have subscribed to a source, the news is displayed in the app and updated continuously. Each article can be commented on, distributed or collected directly from the app environment via social media network, e-mail or social bookmarks.

The pocket app for quick filing and retrieval

When browsing through your sources on eventful days, you come across posts click by click that you think are worth knowing about. With the Pocket app, you can save posts from blogs and websites using the "Add to Pocket" button and add tags (keywords). These tags can be published on Twitter, Facebook and Tumblr. Embedding in blogs and websites is also easily possible with the corresponding URL code. Vine is the perfect gadget for campaigns with user-generated content. Entertainment dinosaur Disney is currently letting visitors to its parks post original experience videos as part of a competition called "Vine Your Disney Side". You can find the campaign recommended for study at http://disneysidecontest. com/.

Fitting for the apocalypse - the Dead Yourself app

Our latest app is an in-house development from Fox International Channels. "Turn yourself into a terrifyingly photorealistic zombie from the horror series The Walking Dead." This app is not for aesthetes. The simplicity with which a well-behaved face can be transformed into a ghastly zombie face with just a few clicks and lots of laughs is astounding. You can choose from zombie eyes, zombie mouths and other accessories from the series. Of course, the gruesome result can be published immediately on Facebook, Twitter and in the Beisser gallery for voting. What used to take hours with Photoshop can now be done in seconds with this app. Apps are flooding the screens. But that doesn't have to mean the apocalypse. On the contrary! Which apps do you use? Spark an exciting discussion with your contribution at http://huerlimanncc.com.

Beat Hürlimann
 

Marketers are hungry, hungry for customer and user data. That is in the nature of things. Since the advent of IT, they are also constantly being given new, more efficient tools for data procurement and data analysis. These have increased exponentially since the Internet. This has also brought politicians onto the scene, who have introduced the Data Protection Act at the same time and continuously adapted it to the new technical possibilities. The Data Protection Act forms the essential legal basis for online marketing with cookies and other tools for analyzing customer and user behavior on the Internet. However, only so-called "personal data" is covered by the Data Protection Act. This is data that allows direct conclusions to be drawn about a natural or legal person. According to the Federal Data Protection Commissioner, this also includes IP addresses, although these generally only allow conclusions to be drawn about the corresponding access provider, as the associated user data may only be disclosed by the latter if there is reasonable suspicion of a criminal offense and only to the criminal authorities. This means that marketers who use cookies and analysis tools for websites, such as Google Analytics, must also adhere to the principles of data protection. The principles of lawfulness, transparency, proportionality, purpose limitation and security are particularly important.

With regard to both cookies and analysis tools, this means that the operator of a website must explicitly refer to the use of these tools in the general terms and conditions of use, usually as part of a data processing declaration. If the website is also accessed in the European Union or is also aimed at this market, the EU's ePrivacy Directive also requires that the user must explicitly consent to the placement of a cookie on their PC, e.g. by clicking on a consent box in a pop-up. This corresponds to the opt-in principle already familiar in connection with commercial emails. In the case of third-party analysis tools, it is important that they do not use the data provided by the website operator for their own purposes and that they guarantee data security. If tools from foreign providers are used, the provisions of the Data Protection Act regarding the transfer of personal data abroad must also be observed. The Data Protection Act requires that the country to which the data is delivered guarantees "adequate data protection". From the perspective of Switzerland and the Federal Data Protection Commissioner, the provider in the USA must have signed up to the "U.S.-Swiss Safe Harbor Framework", which Google in particular has also done. In addition, the Federal Data Protection Commissioner requires the website operator to ensure that the last digits of the IP address are made unrecognizable through appropriate settings in the program code, which is particularly easy to do with Google Analytics.

If these principles are observed, cookies and analysis tools can contribute to the simplification and optimization of websites for both the website operator and the user without becoming "legally poisonous cookies" for the website operator. Further information at www.edoeb.admin.ch and in the book "Kommunikationsrecht.ch"

Ueli Grüter
 

Market researchers from Nielsen were therefore commissioned by LG and YuMe to analyze the impact of smart TV advertising formats in addition to general smart TV usage with the help of an experiment. 100 US consumers were presented with a classic TV program including advertising in the laboratory. Half of the test subjects were then given the opportunity to use a smart TV on which special smart TV advertising formats were also shown. Following this laboratory experiment, all study participants were asked about the advertising effect by telephone.

The key finding of the study: the combination of TV commercials and smart TV ads generates a strong advertising impact. The Ad Impact Index - which summarizes six individual impact indicators - is 114 in the smart TV user group (basis: TV-only group = 100). A closer look at the individual smart TV advertising formats shows that PIP advertising (picture-in-picture) as a TV supplement achieves the greatest effect (123), followed by portal banners (104). An even greater advertising impact is achieved when all smart TV advertising formats are combined with traditional TV advertising (134). In detail, 58% of smart TV users were able to remember the advertising under these conditions (TV only: 56%). Brand recall was 94% (TV only: 76%), 58% could remember the central advertising message (TV only: 38%), and 64% liked the advertising (TV only: 50%). The combination of traditional TV commercials and smart TV advertising also led to a higher purchase intention (50% vs. 30%) and a higher willingness to recommend (52% vs. 30%).

In a second part of the study, 400 smart TV users were also asked about smart TV advertising and usage. The survey shows that many smart TV users have already clicked on smart TV ads (56%). In order to exploit the interaction potential, smart TV ads should be interesting (67%), informative (63%) and relevant (59%) - because this is exactly when they are clicked on. The example of a video banner shows that smart TV advertising can have a clear call to action: 68% of those who clicked on a smart TV video banner subsequently looked further into the advertised product - e.g. searched for additional information online (17%), considered buying it (23%) or even purchased the product directly (13%).

The results on smart TV usage show that 90% are satisfied with their device and 81% prefer their smart TV to a normal TV. Particularly popular among smart TV users are accessing free Internet videos (61% at least once a week), surfing on the TV set (60%) and accessing paid video content (50%). Like traditional televisions, smart TVs are also a family fixture. 87% of devices are located in the living room and 64% of users usually watch TV with family or friends on their smart TV. The study also shows that smart TV users tend to be younger (42% under the age of 40) and have a high income (35% have an annual household income of more than 120,000 US dollars). Four user groups can be distinguished: 22% can be classified as affluent tech-savvy, 25% as social youngsters, 35% as family-oriented and 19% as traditional.

Clemens Koob