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The Media Innovation Research Department at DENTSU SOKEN INC. is a think tank whose mission is to explore changes in media and information communication environments, as well as audience trends.

While we serialize " Insight Memos " in Web Dentsu Inc. News sharing findings from research projects, this "Shiodome Media Researcher Commentary" picks up trends in the modern media environment, analyzing and examining them based on knowledge unique to our department.

In this fourth installment, we approach insights into contemporary online video viewing habits starting from the "orientation" when watching videos on smartphones. Think about your usual smartphone video-watching scenarios—are you a vertical viewer or a horizontal viewer?

汐留メディアリサーチャー時評4
 

With the advancement of communication infrastructure and the proliferation of smart devices, the emphasis in communication continues to shift from text to images and then to video. It seems the distance between online video and our lives is shrinking more than ever before. Reflecting this trend, our department has published research findings on video viewing habits during commutes and school trips, for example.

While we broadly refer to "online videos," the reality encompasses video streaming services, so-called CGM-style video sharing platforms, and increasingly, videos embedded within social media and news sites—all growing in both variety and volume.

This year, the expansion of video streaming services by various companies and the lineup of catch-up services for TV programs, such as "TVer" launching on October 26th, are particularly noteworthy points to consider when examining this theme.

The choices for online video continue to expand, ranging from quick-view content to in-depth viewing experiences.

Many readers likely watch videos daily on their smartphones. The key question here is: Is your phone held vertically or horizontally during these sessions? The answer holds clues for the future of smartphone video viewing.

To state the conclusion upfront: Recently, the number of users watching videos with their phones in portrait orientation has increased significantly, particularly among younger demographics. And mirroring this phenomenon, there's also been a rise in vertical-format video streaming services designed from the outset to be viewed in portrait mode.

So, what exactly is the difference between watching in portrait and landscape mode?
Let's interpret the findings from our department's survey.

Figure 1 summarizes the results of group interviews conducted with heavy users—men and women in their teens to mid-twenties who use image and video apps on their smartphones very frequently—presented in tabular form.

The table header includes the dimensions "Interaction Mode," "Content Nature," and "Length," organizing the differences between vertical and horizontal video viewing.

The main trend suggests that landscape viewing tends to involve longer, entertainment-focused videos watched with more focus and attention, while portrait viewing is more common for shorter videos, often with a communication-oriented purpose.

動画のタテ視聴/ヨコ視聴による場合分け
 
So why can we make this distinction? Let's examine specific user feedback that supports this.

● "I usually watch vertically even on my phone, but for longer content I want to watch carefully, like music concerts or missed dramas, I turn it horizontal."

● "I lock my phone in portrait mode (so it doesn't rotate). I watch less important videos in portrait. For videos I really want to see, I actually access them on my computer to watch them in widescreen, like on a TV."

● "Scrolling through videos and images is faster and less hassle in portrait mode. I pick based on the thumbnail and watch the video directly."

● "Watching videos vertically requires one less action (no need to rotate the screen), making it easier to view."

● "I watch Vine videos that appear on Twitter in portrait mode. They're so short they'd end before I could even change the orientation, so portrait is best."

Notably, while users "turn their screens horizontal for longer-form content like music concerts or missed dramas they want to watch carefully," the increase in vertical viewing stems from factors like "turning horizontal adds extra steps, which is bothersome," "it's sufficient for most videos unless they're truly special," and "you can't scroll (or quickly switch to other content) unless it's vertical."

Therefore, this suggests that longer, highly entertaining content that viewers actively choose to watch ("This is something I want to see!") is likely to be viewed horizontally, while other content is more likely to be viewed vertically.

Of course, while keeping in mind that services offering such immersive, long-form videos will likely increase in the future, as mentioned at the beginning, the changing consumption style of video content among users is a key trend to note.

Another noteworthy finding from the survey results is the normalization of pathways leading from social media and news sites to video content. Watching videos is becoming seamlessly integrated into online information-seeking behavior. It seems undeniable that changes in the design of these sites and apps are significantly contributing to the trend of vertical viewing.

A content ecosystem is emerging where online videos no longer exist in isolation. This information environment, where it's difficult to dedicate full attention to watching online videos, is driving the vertical viewing trend.

For generations accustomed to viewing images in a "horizontal" widescreen ratio, this might feel somewhat unfamiliar. Yet, reflecting on past habits, a clear distinction has always existed: television is typically viewed in a lean-back posture (reclining comfortably while facing the screen), whereas computer displays are viewed in a lean-forward posture (leaning slightly forward, engaging directly with the screen).

In other words, if we draw the implication that "users set the optimal viewing method for each type of content," this aligns with the finding, also summarized in the table, that smartphones are increasing their presence as communication tools, particularly among younger demographics. This suggests a shift where viewing videos vertically is becoming the optimal viewing method for smartphone users.

To further illustrate this point, consider Snapchat—a messenger app boasting massive user numbers and overwhelming DAU (Daily Active Users) primarily among American Millennials (a generational label for the younger demographic in the US). Snapchat is actively developing video ad creatives optimized for vertical full-screen viewing.

Why? Because it gets seen far more effectively (some data suggests it's seen 7 times more often).

As we've seen, vertical viewing on smartphones is becoming commonplace among users. In response to this trend, vertical video services will likely gain even more attention going forward. This might also reflect a current shortage of videos designed for focused, extended viewing (or a failure to effectively target this audience).

The question of "portrait" versus "landscape" is not merely about the orientation of smartphones. It represents a crucial perspective suggesting the future direction of video content, one we must continue to monitor.


DENTSU SOKEN INC. Media Innovation Research Department "Group Interview Survey on Visual Communication" Survey Overview
■Survey Participants
Men and women aged 18-25 living in the Tokyo metropolitan area (college students or working adults) / N=10
■Survey Method
Group interviews with 5 participants per group
■Survey Date
September 6, 2015 (Sunday)

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Author

Ritsuya Oku

Ritsuya Oku

Representative of Media Vision Lab

Joined Dentsu Inc. in 1982. Served in Media Services / Radio,TV Division, Media Marketing Division, and later held positions as Fellow at DENTSU SOKEN INC. and Head of Dentsu Media Innovation Lab. Left Dentsu Inc. at the end of June 2024. Established Media Vision Lab, a personal consulting practice. Primarily provides consulting services to media-related companies in the information and communications sector, focusing on three perspectives: business, audience, and technology. Publications include: "The Birth of Neo-Digital Natives: The Internet Generation Evolving Uniquely in Japan" (co-authored, Diamond Inc.), "An Explanatory Guide to 'The TV Theory That Has Come Full Circle' and the Outlook for Broadcasting Services" (co-authored, New Media), "Confirming the Acceptability of Simultaneous Online Streaming of Broadcasts" ("Nextcom" Vol. 2017 No. 32, KDDI Research Institute), "New Media Textbook 2020" (co-authored, Sendenkaigi), "70-Year History of Commercial Broadcasting" (co-authored, National Association of Commercial Broadcasters in Japan), "Broad and Universal Online Distribution / NHK and Commercial Broadcasters: From Competition to Cooperation" ("Journalism" December 2022 issue, Asahi Shimbun), and "Information Media White Paper 2024" (co-authored, Diamond Inc.). Member of the Ministry of Internal Affairs and Communications' "Study Group on the Future of Broadcasting Systems in the Digital Age." Member of the Publishing and Editorial Committee, NPO/Broadcasting Critics Conference.

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