Behavio Labs analyzed selected ad campaigns to see how they performed in terms of the key conditions for successful advertising.

Research agency Behavio Labs analyzed selected ad campaigns second-by-second. It looked at how they performed in terms of the key conditions for successful advertising. What exactly did the campaign leave in the minds of Czech people? Often very different things than what marketing experts evaluated.


Emotions work primarily as an amplifier in advertising. The stronger the emotion, the more closely our brain follows the campaign and the more deeply it stores it in memory. But without a strong brand and need, the essentials of the ad won’t be stored, so even a super emotional and creative campaign can have zero impact on brand and sales.

The Krušovice soft drink campaign is mediocre in terms of emotions. It shows close-ups of the beer and hops, but has no strong emotional highlights and is even boring at times. Even if it had a well portrayed brand and need, it loses much of its potential because many people won’t watch it until the end or will watch it inattentively, therefore the things portrayed in it won’t be stored deeply in the memory.

The Gambrinus Flamingo campaign is well above average in terms of emotion, and has a clear emotional highlight: the scene where the boater discovers that he has accidentally brought an inflatable flamingo instead of an inflatable boat. The campaign has a chance to be significantly etched in the memory. But even that is not enough.

Emotions while watching the Krušovice non-alcoholic ad, source: Behavio
Development of emotions while watching the Gambrinus ad, source: Behavio


Brand imagery is absolutely essential: the goal of a campaign is to reinforce the brand in our memory. Yet for most campaigns, branding is insufficient. A logo at the end is absolutely not enough. The brand must be displayed early, for as long as possible, and ideally at the most emotional peak, where it will be stored the strongest.

Although the Gambrinus Flamingo campaign has above average emotion, few people correctly associate it with the brand. The Gambrinus restaurant branding only flickers through the edge of the frame for a second in the first third of the ad. Most people notice the brand at the very end. That’s not enough, and it’s probably not going to strengthen the brand much.

The Bohemia Energy campaign also had a good run of emotion, while at the same time people clearly attributed the brand throughout the campaign: the branding was basically constantly reminded, whether through the logo or through the actor Pavel Liška.

Brand assignment in the Gambrinus Flamingo campaign, source: Behavio
Assignment to the brand Bohemia, source: Behavio


For sales, it’s not enough for people to know your brand. It has to come to them at the right moment. The campaign must link the brand in their minds to a relevant buying situation or need. That means it must portray that need clearly and powerfully enough.

Although the Bohemia Energy campaign has above average emotion and branding, the audience does not associate it at all with the relevant need: lower energy prices. This is mentioned for two seconds at the very end, and in different images and sound. The benefit mentioned between loosely related jokes is not enough and the campaign has not strengthened the brand.

Instead, look at the two ads that reinforced the brand amenities above average: the Ťapka campaign from České dráhy and the Cheers To All campaign from Heineken (the most effective of the campaigns measured in 2020 via Kantar Link).

Development of the need in the Ťapka campaign from Czech Railways, source: Behavio

Development of the need in the Heineken campaign, source: Behavio

In both campaigns, there is a clearly identifiable need by the audience throughout: riding the train and drinking beer. And the trajectories of the other curves are high at the same time. Congratulations!

The information material about the research available to be downloaded in source below.



The nature of how we watch TV is evolving. Accelerated by the pandemic, the new and fragmented viewership behaviors are becoming permanent habits.

To understand how and why TV viewership is evolving, Samsung Ads Europe partnered with Ipsos, the leading market research agency, to dig deeper into key factors driving content consumption preferences today.

The research report, covering five major European countries – UK, Germany, Spain, France and Italy – provides a comprehensive picture of European CTV viewers and how they engage with TV content.

In this report you will learn:

  • Which TV viewership habits are set to stay
  • Key drivers behind the growing adoption of streaming
  • The evolving role of TV, streaming and linear
  • Ad effectiveness on CTV and much more…



New data reveals the ideal balance of TV and streaming advertising to achieve maximum campaign reach

Advertisers today face many difficult choices. In-house or agency? Manual or automated? First-party or third-party? One of the most challenging choices is how to make the most of video advertising – that is, how to balance traditional TV (the “old” way) with streaming (the “new” way). 

New data uncovers the importance of incorporating both strategies into an effective media plan, as well as the right budget allocation to drive the best results. 

In an analysis of over 20,000 campaigns from the first half of 2021, we found that advertisers who employ both streaming and TV see the best success, regardless of spend level or brand category. More specifically, campaign reach is highest when 10-40% of a campaign investment is allocated to streaming – no matter how high or low the investment.

Adding streaming to a TV campaign or adding TV to a streaming campaign drives additional reach among unexposed audiences, proving it is a valuable combination. In fact, 37% of streaming impressions went to “light” or “no TV” households – in other words, households that most likely would not have otherwise seen the ad, or would have only seen it sporadically on TV.

TV and Streaming: Dispelling the Myths

Despite this compelling evidence that TV and streaming work best together, myths and misinformation are holding some advertisers back. And, although both TV ad spending and streaming ad spending are expected to grow this year, there are still advertisers who feel strongly that one is “better” than the other. TV traditionalists believe that streaming ads are reaching only young people on a tiny screen, and that nearly all streaming is ad-free. On the other hand, streaming mavericks believe TV is past its heyday, or that no one is watching traditional linear channels in today’s on-demand world.

The reality is that many beliefs about TV and streaming are simply myths and proven false when diving into the numbers. Regardless of your stance on TV versus streaming, reading this data may change the way you plan your next video advertising campaign.

If You Think TV Is No Longer RelevantConsider This

TV continues to be one of the most effective ways to reach large audiences of all ages. In fact, in the first half of 2021, consumers spent an average of 6+ hours per day watching TV, with 88% of time spent with live TV. And, while true “cord cutters” do exist in the U.S., 70% of households that watch streaming also subscribe to cable. In fact, among households that watch streaming, 61% of their viewing time is spent with cable or broadcast TV.

All of this means that TV is still an important reach vehicle for advertisers. Here’s why: According to an analysis of over 20,000 multiplatform ad campaigns with at least 40% of the spend allocated to streaming, TV exclusively accounted for two-thirds of the total campaign reach – proving that TV is still the best way to reach a large audience in a short amount of time.

If You Think Streaming Isnt EffectiveConsider This

In the second quarter of 2021, consumers’ time with streaming video worldwide increased +13%, including a +46% increase in smart TV viewing, compared to the previous year. Meanwhile, connected TV (CTV) ad spending is expected to grow by nearly 50% this year, showing an increased interest in the medium among those in the industry.

Some advertisers worry that streaming ads are too often watched on mobile phones or tablets on the go, where it might be difficult to capture the viewer’s attention. The reality is that streaming via a connected device offers the same lean-back experience as traditional TV, with 76% of streaming impressions seen on the TV screen.

And if you worry that only young people are watching streaming, it turns out mom and dad are watching, too. According to a new study of streaming households, adults over 35 spend more time with streaming video than those under 35.

Finally, it’s not just about paid subscriptions with no commercial availability! You may be surprised to learn that over half of all streaming time spent is with ad-supported content. Sounds like a pretty good bet for advertisers.

With all of this in mind, there is only one clear answer to whether your next advertising campaign includes TV or streaming. The answer is…yes.



Nova is planning another series of the show Masterchef Czechia, casting is currently underway. The broadcast of this year’s series ended on Wednesday 24 November.

The Nova television group has announced that it has begun preparing the next series of the cooking show MasterChef Czechia for broadcast. The broadcast of this year’s autumn series ended on Wednesday 24 November. Casting for the new series is currently underway. Nova has not yet specified its deployment for the broadcast.

Nova offered 26 episodes in this year’s series, which aired twice a week on Tuesdays and Wednesdays at 20:20. The first episode aired at the end of August. Viewership grew over time, with the final episode reaching the highest viewership of the series (1.15 million, 15+). Wednesday episodes achieved slightly higher ratings than Tuesday episodes, which faced the series Slunečná. However, in TV Nova’s key target group 15-54, the show was the most watched after 8pm on both days.

MasterChef Česko Viewership, 31.8.-24.11. 2021, D15+, source: ATO – Nielsen Admosphere, live+ TS0-3: 25. 11. 2021

Overall, the show was watched by an average of 849,000 viewers aged 15+ (21.45% share). In the 15-54 group, the average share of the whole series was 30.51 %. In terms of audience share, these results are almost comparable to a year ago. The highest audience share was among young women (15-24), at 52.71 %.



While watching TV is one of the most frequent media activities for children under 14, it is much less frequent among 15-19 year olds. They spend more time watching movies on electronic devices and especially on social media.

The most commonly used device for media activities among children is the mobile phone. It is used by up to 70 % of 6-8 year olds, 89 % of 9-14 year olds and 98 % of 15-19 year olds. The smartphone is also the device on which today’s children spend most of their time. This is shown by data from a new wave of a research called “Czech children as readers in the time of the covid-19 pandemic”, conducted by the Nielsen Admosphere agency for the National Library in Prague. The results of the research were published at an online press conference on Thursday.

In terms of the daily frequency of media activities, there is a noticeable difference between different age groups of children and young people. While children aged 6-8 are most likely to spend their day getting ready for school, playing at home and watching TV, older children aged 9-14 are most likely to play electronic games and watch TV after getting ready for school. For young people aged 15-19, the most common daily activities are using social media, surfing on the internet and listening to music.

The data also show that while children under 14 years of age prefer watching TV among traditional media activities, young people over 15 years of age have a significantly lower proportion of TV watching and, on the contrary, spend more time watching films on electronic devices and even more time on the aforementioned internet searches and social media.

The results confirmed that the covid-19 pandemic has increased media activities of both children and young people. Electronic gaming increased most significantly among older children during the covid-19 pandemic, and they watched movies on electronic devices and used social media more often. For younger children, electronic gaming also increased the most during the pandemic, followed by watching movies on electronic devices and playing board games. For 15-19 year olds, the pandemic led to increases in watching movies on electronic devices, using social media and reading articles online.

Compared to 2017, the proportion of children and especially adolescents who appreciate the importance of reading books for education has increased. There was also an increase in the rating of “reading books is important for my future life” among young people. Children were the most likely to say in the survey that reading books is fun; on the other hand, children aged 6-14 were more likely to respond that reading is an obligation that their parents mainly force them to do. The number of books read did not change much between 2017 and 2021, and the coronavirus pandemic did not significantly affect the reading of older children and the younger generation. Older children and young people read roughly the same number of books as in 2017. Older children read approximately 7.3 books and teens read 8.9 books per year.

The pandemic negatively impacted magazine reading, with the proportion of non-readers increasing from 15 % in 2017 to 30 % in 2021 for teens and from 14 % to 28 % for older children. Older children read more blogs and articles on the internet and, along with teens, social media posts.

Particularly among teenagers, the proportion of non-regular e-book readers increased compared to 2017 (from 41 % to 54 %), but the number of regular e-book readers remained the same. They mostly use mobile phones to read e-books. Across all age categories, the proportion of spoken word listeners increased significantly compared to 2017. A significant proportion of teenage listeners (43 %) reported that they started listening to spoken word more during the pandemic, with 38 % preferring audio versions rather than books for required reading.

The research was conducted using quantitative and qualitative methods, and the target groups were children aged 6 to 8 years (youngest school children), 9 to 14 years (older children) and young adults aged 15 to 19 years (adolescents). Parents of children aged 6 to 8 years were also surveyed. The research was conducted in cooperation between the National Library of the Czech Republic and the Nielsen Admosphere agency using the CAWI method (online data collection) on a representative sample of 2,040 respondents, based on quota sampling in accordance with the socio-demographic structure of the Czech population.

The full infographic can be downloaded here.



More than half (56%) of adults in the UK, Germany, Spain, Italy and France are willing to watch ads on TV in exchange for in response to the rising costs of streaming subscriptions, reveals a Samsung Ads Europe consumer study.

 The report, the 2021 Connected TV Viewer, conducted by Ipsos, surveyed more than 5,000 consumers with a smart TV to further explore the market context and understand the cultural influences shaping the role of the smart TV within the home. It fundamentally found that recommendations key to helping viewers find what they want to watch.

The data revealed that the smart TV audience in the countries had an overwhelmingly more positive attitude to ads on TV compared with other devices and were at least twice as likely to consider them better quality, entertaining and eye-catching, versus ads on other devices in the home. Almost two-fifths thought ads on smart TV were high quality compared with 11% on mobile or 8% on laptop/desktop, while 37% thought ads on smart TVs were entertaining versus 15% on mobile and 8% on desktop.

Streaming was revealed to be a shared experience. Nearly three quarters (72%) of the smart TV audience said they would mostly turn to streaming services when they want to sit down with others to enjoy a programme together compared with just 18% mostly turning to linear TV, while 73% mostly chose to turn to streaming for an entire evening of viewing. In comparison 19% would turn to linear TV. In addition,78% of EU smart TV users mostly stream when they are looking for something new to watch, with only 14% considering linear TV as a channel for discovery. However, live events such as news and sport are largely still linear experiences. Families with children have greater engagement with both smart TVs and streaming, watching more often and for longer than those without children.

Two-thirds of the smart TV audience (67%) agreed that they had more than enough choice when it comes to content to watch on the services they have access to. However, the research highlighted the role that Smart TVs can play in enabling audiences to find the content they like quickly. Two-thirds (66%) of the smart TV audience suggested that recommendations on their TV home screen based on shows they or their household have watched across services would be appealing.

Looking at moments when the smart TV audience were not quite sure what to watch, only 21% would be likely to go straight to an app, with 64% likely to look at information on their smart TV home screen to help guide their decision making. This shows that the smart TV can act as a gateway, reducing content overload for viewers and acting as a key portal to the best content.

The study also found that YouTube and its rival Dailymotion had been viewed on smart TVs by 38% of viewers in the last three months while 27% had used their smart TV as a music player and 19% for browsing the internet. The survey showed that multiple functions of smart TVs were reflected in the emotional needs the audience sees their smart TV fulfilling: 9% of those surveyed best identified their r as being a source of education or instruction; 12% of the Smart TV audience have watched cooking videos; 10% watched other types of tutorials through their smart TV in the past three months.

“What we can see is that the Smart TV is becoming a multi-purpose facilitator for entertainment, connection, learning and more. Viewers’ willingness to watch ads in exchange for free content combined with the perception of ads on TV is an exciting opportunity for advertisers trying to reach streaming audiences through ad funded streaming platforms,” said Alex Hole, vice president of Samsung Ads Europe commenting on the 2021 Connected TV Viewer report.

“As consumers look to free ad-supported TV content, the end consumer expects high quality content and advertising on the biggest screen in their home. This reflects what we have known instinctively; to fit into a premium advertising channel, the ads must be premium, too.”



AKTV joined in the commemoration of World Television Day with a special spot.

Television companies around the world celebrate World Television Day on 21 November. As part of an annual UN initiative, a 30-second spot commemorating the day was broadcasted and shared globally this year. Commercial television groups Nova, Prima and Óčko, which are affiliated to the Association of Commercial Television (AKTV), included the spot in their broadcasts and the social media feeds.



Advertisements watched on a television screen have the best results in spontaneous and endorsed knowledge compared to other types of platforms designed for watching video content.

This was found in Screenforce‘s Track the Success study, which tracked the factors influencing the reception of advertising on different platforms (TV, BVOD, YouTube and Facebook) in Germany, Switzerland and Austria. The results of the study were presented in Prague at the Association of Commercial Television (AKTV) conference by Daniel Reiner and Stefan Schönherr.

The Track the Success study essentially examines the question of how viewers and users perceive media content and what consequences this has on the effect of advertising. Three factors were examined: perception, reaction and effect. The data for this study was collected from a sample of 549 respondents, whose behavior was monitored in their home environment and their reactions to advertisements were recorded. The respondents were equipped with a laptop, a smartphone, a webcam and a skin sensitivity device for testing purposes. An online questionnaire completed the research. Twelve creatives from eight different brands were analyzed, with a total of 400 media behavior patterns studied. The same creatives were displayed on each platform and a time of 20 minutes was allocated for testing.

For the purpose of the study, respondents watching on-demand TV content (BVOD) were evenly split into two groups – half watching this content on a TV screen and the other on a smartphone. This, according to the researchers, may have slightly favored YouTube, which tends to be watched more on mobile phones than on smart TVs. Moreover, in the case of YouTube, only non-skippable ads were tested for a fairer comparison with other platforms.

Basic results

  • The data specifically shows that spontaneous ad recall scored 52 % in TV viewing, followed by watching TV content on demand (BVOD) at 44 %. Social networks YouTube (34 %) and Facebook (30 %) scored lower on this parameter. The results were the same in Germany, Austria and Switzerland. TV ads also recorded the highest endorsed knowledge (60 %).
  • Purchase intention triggered by viewing an ad is generally more difficult to influence as it depends on multiple factors. The differences here are therefore smaller, but according to the results, TV and BVOD also scored the highest (26 % each), followed by YouTube (23 %) and Facebook (20 %).
  • On TV, BVOD and YouTube (unskippable ads), viewers play ads with sound on, whereas in the case of Facebook, only a third of viewers (34 %) do so. The first two are also watched in full screen, while only 59 % of YT ads and 16 % of Facebook ads are watched in full screen. A viewability factor of ads is related to this – 100 % ads are viewable on TV and 99 % on BVOD. This is 96 % for YouTube and 52 % for Facebook.
  • The research also looked at the extent to which people pay attention to the screen – viewers were paying the most attention (94 %) to TV, followed by BVOD (89 %), YouTube (85 %) and Facebook (43 %).
  • The measured responses showed that TV stimulates positive emotions for the longest time (5.1 seconds), followed by BVOD (4.9 seconds), YouTube (4.4 seconds) and Facebook (1.2 seconds). In contrast, YouTube (5.69 seconds) and BVOD (4.55 seconds) ads achieved the highest excitement.
  • When comparing content on BVOD and YouTube in terms of the device used (TV, smartphone), BVOD showed lower efficiency losses – both on TV and smartphone.
  • In the case of TV and BVOD, the emotion from content is transferred to advertising (TV: content 33 %, advertising 31 %, BVOD: content 38 %, advertising 35 %). For YouTube, the difference is slightly larger, at minus 5 percentage points (content: 35 %, advertising 30 %). In the case of Facebook, the loss is 21 percentage points (content: 33 %, advertising: 12 %).



On the occasion of World Television Day, ATO has published key trends in how people watch TV in the Czech Republic.

The television viewership curve over the last ten years shows an increase in the last two so-called covid years, when TV was the most sought-after source of information and entertainment. The average Czech over the age of 15 watches almost four hours of television a day.

“Looking at the timeline, it is evident that the time spent watching TV clearly increased during the lockdown period in 2020 and the trend continues this year,” said national Association of Television Organisations (ATO) on the occasion of World Television Day, which falls on 21 November.

The data also shows that in the first ten months of 2021, over 6.8 million viewers (the average number of viewers who watched given TV stations continuously for at least three minutes each day) in the general target group of 4+ watched TV on a daily basis.

Viewers in the 25-34 and 35-44 age groups spent an average of more than two to three hours a day in front of the TV, according to October data. “On one hand, the increase in viewing in autumn may be associated with shorter days or cooler weather, but 2020 at its extremes is clearly related to the pandemic (3h 20 min for the 35-44 age group). This year is not as extreme, yet for the aforementioned target group, viewership exceeded three hours,” the ATO further explains.

The peoplemetric data shows that compared to the pre-covid period (2019), there was a +4 % increase in the average viewership of the main newscast last year and even a +6 % increase this year to a total of 2.6 million viewers every day in the 15+ target group.

 “Time spent watching TV has increased significantly during the period of covid restrictions, most notably during the lockdown period. But the pandemic was not the only source of this increase. It may have contributed significantly, but it is certainly not the only factor. The increase in total TV viewing time is due to, for example, the increasing fragmentation of the market with better targeting of individual target groups, the emergence of new genre stations, the overall richer programming offer, and the increasingly popular option of delayed viewing via HbbTV or IPTV,” said Vlasta Roškotová, ATO Managing Director.    

Continuous Research data (specifically from the latest available research wave July-September 2021) shows that the majority (45 %) of households use the DVB-T2 digital terrestrial signal for TV reception, 19.7 % watch broadcast via satellite, 13.4 % of households are cable-equipped and almost 22 % of households watch TV via the internet (IPTV). 83 % of Czech households have an internet connection.



TV companies around the world celebrate World Television Day on 21 November to remind us of television’s continuous and profound transformation to become TV, a Total Video experience. As part of the annual United Nations initiative, a 30 second-spot will be broadcast and shared online worldwide as an invitation to discover it all.

Tomorrow’s TV, created today

Brussels, 19 November 2021 – For this special edition – the 25th anniversary of the initiative launched by the UN in 1996 – World Television Day celebrates a truth that holds around the globe: TV has evolved to become much more than it used to be. TV is now available at all times, at home and on the go, across all screens – large or small – live or streamed; offering both collective and feel-like-me experiences. TV is also measurable, connected, personalised and targetable.

“TV has connected us all during the COVID-19 pandemic, keeping us informed, educated, entertained and even inspired. During the recent COP26 Conference, broadcasters from across the globe played an essential role in showcasing the challenges and solutions when we work together to combat climate change. Long live television as a unifying medium!” says Caroline Petit, Deputy Director & Officer in Charge, United Nations Regional Information Centre for Europe (UNRIC).

“It is fitting that on this occasion, the 25th anniversary of World Television Day, we not only look back upon the unwavering evolution of TV, but also keep a keen eye on the future. It is truly the DNA of our medium to continuously transform and meet the needs of our time, providing viewers, TV companies and marketers alike with new platforms, new possibilities and new ideas. With this in mind, we eagerly look forward to the next 25 years and the many innovations TV will bring to provide an even more compelling experience,” asserts Katty Roberfroid, Director General, egta.

For more information, please visit

Press contacts:

  Alain Beerens, MarCom Manager, egta Association of television and radio sales houses T : +32 2 290 31 38  


The Global TV Group is a grouping of broadcasters’ and sales houses’ trade bodies in Europe, the USA, Canada, Australia and Latin America, whose joint objective is to promote television and remind advertisers, journalists, agencies and industry peers about the effectiveness and popularity of TV.


The European commercial broadcasting sector is a major success story. We entertain and inform hundreds of millions of EU citizens each day via thousands of channels available across Europe. The Association of Commercial Television in Europe represents the interests of 29 leading commercial broadcasters across Europe. The ACT member companies finance, produce, promote and distribute content and services benefiting millions of Europeans across all platforms.  At ACT we believe that the healthy and sustainable commercial broadcasting sector has an important role to play in the European economy, society and culture.


The European Broadcasting Union (EBU) is the world’s foremost alliance of public service media (PSM). Our mission is to make PSM indispensable. We represent 115 media organizations in 56 countries in Europe, the Middle East and Africa; and have an additional 31 Associates in Asia, Africa, Australasia and the Americas. Our Members operate nearly 2,000 television and radio channels alongside numerous online platforms. Together, they reach audiences of more than one billion people around the world, broadcasting in more than 160 languages. We strive to secure a sustainable future for public service media, provide our Members with world-class content from news to sports and music, and build on our founding ethos of solidarity and co-operation to create a centre for learning and sharing.

ABOUT egta

egta is the association representing television and radio sales houses, either independent from the channel or in-house, that markets the advertising space of both private and public television and radio stations throughout Europe and beyond. egta fulfils different functions for its members in fields of activities as diversified as regulatory issues, audience measurement, sales methods, interactivity, cross-media, technical standards, new media, etc. During its more than 40 years’ existence, egta has become the reference centre for television and radio advertising in Europe. egta counts more than 160 members operating across 43 countries.


The Brussels-based United Nations Regional Information Centre for Europe – UNRIC – provides information on UN activities to 22 countries and is active on social media and websites in 13 languages. It acts as the European communication office of the United Nations and its aim is to engage and inform European citizens about global issues. It also liaises with institutions of the European Union in the field of information. Its outreach activities, joint public information campaigns and events are organized with partners including the EU, governments, the media, NGOs, the creative community, and local authorities.