ERTFLIX Celebrates Three Years as the Leading Greek Streaming Platform
ERTFLIX has enjoyed phenomenal success since its launch three years ago and continues to gain even bigger audiences with a diverse content offer of high-quality local and acquired productions. Konstantinos Bourounis, Deputy Chief Content Officer of ERT, is one of the key people behind the creation and impressive performance of the free Greek public media streamer. In this exclusive interview with Georgi R. Chakarov for TVBIZZ Magazine, he talks about the first days of the platform and how it managed to become one of the strongest brands on the Greek media market.
The Fire Bracelet
Konstantinos, ERTFLIX was launched three years ago and has been setting new records ever since. Tell us more about the first days of the platform and how it managed to evolve into Greece’s most popular streaming service?
On the grounds of the ERT Hybrid platform which again was a tech initiative from ERT’s Technical Division, on the Greek AV market which had been on air for a couple of years, the ERT Administration felt the need to upgrade the service to a more solid, modern and user friendly ΟΤΤ platform that would be similar in terms of user experience as other well-known international ΟΤΤ services. An in-house team developed the first layout and UI that was launched first as a Red Button service. Soon enough ertflix.gr was launched online and then all other apps for Smart TVs and Mobile devices were delivered step by step. The premiere of ERTFLIX was back in April 2020 and that was in fact during the COVID lockdown. That helped for sure to spread ERTFLIX as the audience was consuming video content vastly through all kinds of platforms. On the other hand, besides the perfect timing from the tech division, the con- tent division developed an well-curated catalog for ERTFLIX creating certain categories and genre rows that helped the audience navigate easily inside the impressive library of ERT’s own shows and acquired content.
The launch of ERTFLIX came as a surprise for the whole Greek media market which is dominated by commercial media. Were you surprised by the initial numbers? What drove the quick success of the platform in its first months?
We have to keep in mind that Greek audience is limited to 10 million people and the Greek language is very specific. That in itself is a barrier for commercial media to invest and form a business model that has a profitable turnout. Those type of media require a year end profit while on the other hand the Public Media as ERT’s purpose is to find ways to deliver its content to as many people as possible and by all means. Linear and digital. And on that public service direction ERTFLIX has been a free video on demand model since day one. And that’s why a clone of ERTFLIX with fine tuned content is already available globally for Greek people with the extra option of English subtitles.
During the first 10 days, ERTFLIX generated over half a million visits which rose to more than 6 million by the end of the year 2020. At this point, ERTFLIX had already become the most-popular streamer in Greece. What was your strategy to keep the interest of the users and increase it in the long term?
Keeping in mind the coincidental opportunity that ERTFLIX was launched during the first COVID lockdown the main thing that empowered stickiness to the service was tech stability and content curation. ERT’s mix of program is built on in-house productions (series, shows, news shows, sports, kids programs, etc.) and acquired content (series, movies, documentaries, kids programs, etc). All these are spread to 4 linear channels (ERT1, 2, 3, ERTNEWS). On ERTFLIX you have the opportunity to find all these videos in a constant curated environment. That makes it not only easy to choose a show but gives our audience feel that is a vivid and “caring” service on their needs.
Are you surprised that commercial media have still not been able to create a platform that can deliver such numbers? How do you explain this?
Making the decision of launching a platform is a multifactor strategy. What is the objective for any media organization is quite different. Profit is a key factor of course and the pricing policy cannot easily be designed when international platforms are already in the territory for quite a while holding an impressive merit of Greek users.
On that basis, commercial media are trully justified to work consciously on that area. But as I said, this is a multifactor decision. It certainly has to do with marketing and positioning of the media. I mean before developing a platform the main question is “why does my company need this?”. If there is a strategic decision to invest in original content in the upcoming years? Or if sports is a direction you want to follow? Or if it’s going to work complementary to my linear TV?
What type of content is most popular on ERTFLIX?
During the past 3 years ERT produced more than 20 series for its linear program. That hasn’t happened for almost a decade and itself was a very positive impact. Those series are the chart toppers on ERTFLIX as well. An impressive data is that miniseries are very popular to binge watch but even daily drama series meet up almost the same numbers for users that like ERTFLIX as a catch up service. To mention some, The Fire Bracelet (8X55’) about Greek Jews of Thessaloniki on early1900 and the devastated facts till holocaust or Cartes Postales from Greece (12X45) based on a Victoria Hislop’s book taking place in contemporary Crete with astonishing locations and riveting independent stories about romance and fate. Also the kids program, international series and movies, both Greek and International are always among the first picks.
How often do you add new titles to your offer? How big is the catalog now and what is the balance between Greek and foreign content?
A recent report found out that ERTFLIX hosts more than 5000 video titles. We have new content launches daily when it comes to own shows or series and weekly for other types of content. The strategy is not to feed the platform regularly based on quantity with new content but to curate those 5000 video titles regarding recurrency of interest based on certain type of factors. Seasonality, current issues, ongoing festivals, local publicity, special rows on directors, artists, etc. Regularly, we introduce new movie and series titles.
This TV season has also brought new records to ERTFLIX. Can you mention some numbers and the shows that generated the biggest interest?
An impressive average of 9.000.000 monthly views is the record that ERTFLIX achieves as we speak. It always peaks on weekends and has an impressive viewership online. Stability of service as well as constant curation of top categories (Everybody’s Watching, New Arrivals, Last Chance, etc) keep our audience active and interested. Greek drama series are really popular for obvious reasons as well as contemporary Greek movies. The promo through social media on a daily basis in a more fun and personal tonality also boosts the awareness of ETFLIX content adding up to its popularity.
What are your plans for the 2023-24 season? Will spending on ERTFLIX increase and what projects do you have in the works?
The ERTFLIX budget is a part of the fixed total budget of ERT through public financing. That means that any budget allocation needs to be done in ways that won’t affect other ERT media. On the other hand, ERTFLIX is a success story for ERT and keeps growing in popularity and usage. So at the end of day the answer is positive regarding not only acquisitions but mainly the opportunity to have some local productions exclusively for ERTFLIX that later on would be available on linear TV as well. Drama miniseries seems to be the ideal genre for that.
What types of devices generated the biggest traffic for you?
This may come as a surprise for a Public Media FVOD service but the division is 6/4 in favor of mobile, tablet, PC (online) rather than Connected TV. This is a real opportunity for ERT’s audience to reach youngsters who obviously use a lot more those devices since TV audience age for Public Services linear channels are in general shifted upwards.
Given the ongoing international FAST revolution, is ERT planning to expand the services of ERTFLIX with such offers?
There have been thoughts to host such channels and there is a great opportunity with ERT’s archive which has now kicked off the full upgrade and digitalization of its content. ERT has been for decades a standalone TV service on the Greek market and has aired programs of unique value both artistic as well as popular. At the moment, there are sports channels exclusively on ERTFLIX, ERT SPORTS1 and 2 and occasionally during big sports events we launch ERT SPORTS 3.
How important are the partnerships with other platforms and providers for the success of ERTFLIX?
Returning to the core intention of ERT as a public media organization it is always our will to offer ERTFLIX through other platforms in Greece as an add on to our linear channels that are already there so it already happens with COSMOTE TV, Nova and Vodafone TV OTT platforms.
You have also rolled out ERTFLIX into several markets outside of Greece. What are your plans in this direction?
ERTFLIX International is already happening. We have developed a clone of ERTFLIX with a different layout of categories to host our content out of the country. It is curated separately regarding the needs and demands of Greek people around the world and mainly consists of local program in Greek language. We offer the service with Greek and English subtitles for the second generation ex patriots.
We know that ERT is not satisfied with the current measurements in Greece which do not take into ac- count the online viewership. What is the progress on the market in this respect?
Since September 2022, Nielsen has been monitoring catch up viewership (TSV) which was really needed, since more and more people are watching linear TV at their convenience.
Time shifted viewership ratings though can only be considered as an indicative metric for a platform for 2 basic reasons: First, they do not depict full content consumption as it relates to linear channels only and it goes back only for 7 days. Secondly, they only depict viewership of content consumed on big screens and not content consumed on other devices/screens that audiences use nowadays to watch content. As mentioned above, 6 out of 10 watch Ertflix in other devices than TV. That leaves a big gap on estimating reach and viewership and that’s why ERTFLIX has acquired an outsourced online measurement tool that brings detailed data and insight on the table on viewing behavior / viewership. The metrics combine streaming as well as on-demand viewing data, all devices without time limitations and this enables us to have the full knowledge of day to day progress and not just for 7 days. This analysis results in double viewership for our drama series for example, compared to linear (Nielsen).
On the grounds of the ERT Hybrid platform which again was a tech initiative from ERT’s Technical Division, on the Greek AV market which had been on air for a couple of years, the ERT Administration felt the need to upgrade the service to a more solid, modern and user friendly ΟΤΤ platform that would be similar in terms of user experience as other well-known international ΟΤΤ services. An in-house team developed the first layout and UI that was launched first as a Red Button service. Soon enough ertflix.gr was launched online and then all other apps for Smart TVs and Mobile devices were delivered step by step. The premiere of ERTFLIX was back in April 2020 and that was in fact during the COVID lockdown. That helped for sure to spread ERTFLIX as the audience was consuming video content vastly through all kinds of platforms. On the other hand, besides the perfect timing from the tech division, the con- tent division developed an well-curated catalog for ERTFLIX creating certain categories and genre rows that helped the audience navigate easily inside the impressive library of ERT’s own shows and acquired content.
The launch of ERTFLIX came as a surprise for the whole Greek media market which is dominated by commercial media. Were you surprised by the initial numbers? What drove the quick success of the platform in its first months?
We have to keep in mind that Greek audience is limited to 10 million people and the Greek language is very specific. That in itself is a barrier for commercial media to invest and form a business model that has a profitable turnout. Those type of media require a year end profit while on the other hand the Public Media as ERT’s purpose is to find ways to deliver its content to as many people as possible and by all means. Linear and digital. And on that public service direction ERTFLIX has been a free video on demand model since day one. And that’s why a clone of ERTFLIX with fine tuned content is already available globally for Greek people with the extra option of English subtitles.
During the first 10 days, ERTFLIX generated over half a million visits which rose to more than 6 million by the end of the year 2020. At this point, ERTFLIX had already become the most-popular streamer in Greece. What was your strategy to keep the interest of the users and increase it in the long term?
Keeping in mind the coincidental opportunity that ERTFLIX was launched during the first COVID lockdown the main thing that empowered stickiness to the service was tech stability and content curation. ERT’s mix of program is built on in-house productions (series, shows, news shows, sports, kids programs, etc.) and acquired content (series, movies, documentaries, kids programs, etc). All these are spread to 4 linear channels (ERT1, 2, 3, ERTNEWS). On ERTFLIX you have the opportunity to find all these videos in a constant curated environment. That makes it not only easy to choose a show but gives our audience feel that is a vivid and “caring” service on their needs.
Are you surprised that commercial media have still not been able to create a platform that can deliver such numbers? How do you explain this?
Making the decision of launching a platform is a multifactor strategy. What is the objective for any media organization is quite different. Profit is a key factor of course and the pricing policy cannot easily be designed when international platforms are already in the territory for quite a while holding an impressive merit of Greek users.
On that basis, commercial media are trully justified to work consciously on that area. But as I said, this is a multifactor decision. It certainly has to do with marketing and positioning of the media. I mean before developing a platform the main question is “why does my company need this?”. If there is a strategic decision to invest in original content in the upcoming years? Or if sports is a direction you want to follow? Or if it’s going to work complementary to my linear TV?
What type of content is most popular on ERTFLIX?
During the past 3 years ERT produced more than 20 series for its linear program. That hasn’t happened for almost a decade and itself was a very positive impact. Those series are the chart toppers on ERTFLIX as well. An impressive data is that miniseries are very popular to binge watch but even daily drama series meet up almost the same numbers for users that like ERTFLIX as a catch up service. To mention some, The Fire Bracelet (8X55’) about Greek Jews of Thessaloniki on early1900 and the devastated facts till holocaust or Cartes Postales from Greece (12X45) based on a Victoria Hislop’s book taking place in contemporary Crete with astonishing locations and riveting independent stories about romance and fate. Also the kids program, international series and movies, both Greek and International are always among the first picks.
Cartes Postales from Greece
How often do you add new titles to your offer? How big is the catalog now and what is the balance between Greek and foreign content?
A recent report found out that ERTFLIX hosts more than 5000 video titles. We have new content launches daily when it comes to own shows or series and weekly for other types of content. The strategy is not to feed the platform regularly based on quantity with new content but to curate those 5000 video titles regarding recurrency of interest based on certain type of factors. Seasonality, current issues, ongoing festivals, local publicity, special rows on directors, artists, etc. Regularly, we introduce new movie and series titles.
This TV season has also brought new records to ERTFLIX. Can you mention some numbers and the shows that generated the biggest interest?
An impressive average of 9.000.000 monthly views is the record that ERTFLIX achieves as we speak. It always peaks on weekends and has an impressive viewership online. Stability of service as well as constant curation of top categories (Everybody’s Watching, New Arrivals, Last Chance, etc) keep our audience active and interested. Greek drama series are really popular for obvious reasons as well as contemporary Greek movies. The promo through social media on a daily basis in a more fun and personal tonality also boosts the awareness of ETFLIX content adding up to its popularity.
What are your plans for the 2023-24 season? Will spending on ERTFLIX increase and what projects do you have in the works?
The ERTFLIX budget is a part of the fixed total budget of ERT through public financing. That means that any budget allocation needs to be done in ways that won’t affect other ERT media. On the other hand, ERTFLIX is a success story for ERT and keeps growing in popularity and usage. So at the end of day the answer is positive regarding not only acquisitions but mainly the opportunity to have some local productions exclusively for ERTFLIX that later on would be available on linear TV as well. Drama miniseries seems to be the ideal genre for that.
What types of devices generated the biggest traffic for you?
This may come as a surprise for a Public Media FVOD service but the division is 6/4 in favor of mobile, tablet, PC (online) rather than Connected TV. This is a real opportunity for ERT’s audience to reach youngsters who obviously use a lot more those devices since TV audience age for Public Services linear channels are in general shifted upwards.
Given the ongoing international FAST revolution, is ERT planning to expand the services of ERTFLIX with such offers?
There have been thoughts to host such channels and there is a great opportunity with ERT’s archive which has now kicked off the full upgrade and digitalization of its content. ERT has been for decades a standalone TV service on the Greek market and has aired programs of unique value both artistic as well as popular. At the moment, there are sports channels exclusively on ERTFLIX, ERT SPORTS1 and 2 and occasionally during big sports events we launch ERT SPORTS 3.
How important are the partnerships with other platforms and providers for the success of ERTFLIX?
Returning to the core intention of ERT as a public media organization it is always our will to offer ERTFLIX through other platforms in Greece as an add on to our linear channels that are already there so it already happens with COSMOTE TV, Nova and Vodafone TV OTT platforms.
You have also rolled out ERTFLIX into several markets outside of Greece. What are your plans in this direction?
ERTFLIX International is already happening. We have developed a clone of ERTFLIX with a different layout of categories to host our content out of the country. It is curated separately regarding the needs and demands of Greek people around the world and mainly consists of local program in Greek language. We offer the service with Greek and English subtitles for the second generation ex patriots.
We know that ERT is not satisfied with the current measurements in Greece which do not take into ac- count the online viewership. What is the progress on the market in this respect?
Since September 2022, Nielsen has been monitoring catch up viewership (TSV) which was really needed, since more and more people are watching linear TV at their convenience.
Time shifted viewership ratings though can only be considered as an indicative metric for a platform for 2 basic reasons: First, they do not depict full content consumption as it relates to linear channels only and it goes back only for 7 days. Secondly, they only depict viewership of content consumed on big screens and not content consumed on other devices/screens that audiences use nowadays to watch content. As mentioned above, 6 out of 10 watch Ertflix in other devices than TV. That leaves a big gap on estimating reach and viewership and that’s why ERTFLIX has acquired an outsourced online measurement tool that brings detailed data and insight on the table on viewing behavior / viewership. The metrics combine streaming as well as on-demand viewing data, all devices without time limitations and this enables us to have the full knowledge of day to day progress and not just for 7 days. This analysis results in double viewership for our drama series for example, compared to linear (Nielsen).
