Friday, September 27, 2013

YouTube's Channelification and Innovations



YouTube is no longer a repository of videos tossed together in a free-for-all manner. The “channelification” of YouTube has been popular with advertisers and a boon for the video platform, too. Below is a conversation between Jamie Byrne, director of content strategy at YouTube, and eMarketer, about how the channels underscore a number of innovations at the company.

eMarketer: YouTube is at the point where it is very much embedded into the mainstream of what people watch. Part of that is the creation of channels on the video platform—tell me about that development.

Jamie Byrne: On YouTube today, we’ve got Ridley Scott working with Machinima on sci-fi films they’re going to release on the Machinima channel. We’ve got Simon Cowell running a global talent competition on You Generation. We’ve got Sarah Silverman and Michael Cera partnered on a comedy channel called JASH. Our focus on original programming has had some elements of funding and [unknown] creative, [as well as] mainstream creators. The creators we have on the platform really engage with YouTube and connect with their audiences.

What we’ve been working on for the past two years is what we sometimes call the “channelification” of YouTube. You’re right: In the early days, YouTube was a repository of videos, and people would just search to find the videos they wanted to watch. We’ve made a big shift, and now the entire YouTube experience is oriented around the idea of channels, and there are two reasons that’s important. One is to help users find the content they love and stay engaged with it, regardless of what platform they happen to be on. So if you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through, and it makes it really easy for you to kind of stay connected to that content.

Three or four years ago, advertisers looked at a repository of videos, and it was very hard for them to make sense of it. It’s not similar to the way they had traditionally bought their television advertising. So this channel strategy is also really about us helping elevate creators as channel brands that advertisers can understand [the way they understand TV channels].

“If you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through.”

They see brands like Machinima that start to become truly crossover because they’ve reached such great scale. Or they see creators like Smosh—the first creators to pass 10 million subscribers. Then you can start to talk about real scale that advertisers can begin to understand and align around.

eMarketer: How is the channel initiative paying off for you?

Byrne: Today, all 100 of the top 100 advertisers are advertising or have advertised on YouTube in the past couple of months. In terms of user engagement, if we were to go back a year ago, we had 78 channels that had a million subscribers, and today there are 325 channels at that level.

eMarketer:
When you see something like, for example, “House of Cards,” get all those Emmy nominations and be an almost instant success on Netflix, do you think to yourself, “I wish we could be getting some of that audience,” or is that something you celebrate because it creates more scale for what you’re trying to do?

Byrne: We absolutely celebrate that. It’s important to recognize that Netflix is actually commissioning those individual shows, and we are a different kind of platform. But, we are a platform for content creators, and some of our content creators are getting those types of accolades. We encourage our creators to distribute not only on YouTube, but to look at opportunities with Netflix, Hulu or Amazon.com.

For example, WIGS—one of our original funded channels a few years ago that’s focused on women—also now distributes its content on Hulu. It has some content it does on YouTube, and it’s also using Hulu as a distribution point. It’s all kind of very symbiotic.

eMarketer: Tell me a little bit about this production space in Los Angeles. Did I just read that you’re about to break ground on one in New York?

Byrne: We are, absolutely. The creator space is really a concept to try and figure out how to help our content creators get better at what they do. It’s also a place where they can collaborate with one another—that’s a really important thing in the YouTube ecosystem. Content creators work together and share audiences. They also get access to amazing production equipment.

You can imagine that some of these creators use the tools they have at their disposal. But coming into the creator space, we’ve been able to put state-of-the-art equipment in there, and it’s really fun and exciting to see what they do with it. It’s great when you have someone who has a great creative mind and is really technically capable, but who never gets access to a 10,000-square-foot soundstage.

“The creator space is really a concept to try and figure out how to help our content creators get better at what they do.”

Any content creator who is a partner of ours can apply to a residency there that is anywhere from one week to a month long. There’s a creator, Freddie Wong, who you may have heard of, who has a show called “Video Game High School.” He crowdsourced the funding for that on Kickstarter. He had a monthlong residency at the Los Angeles creator space that we filmed.

We have a creator space in Los Angeles, London and Tokyo, and the one in New York is going to be really exciting because not only is it a space for creators, but New York is the media capital of the world and the advertising capital of the world, and the space will also have a brand lab at the same facility.

eMarketer: What do brands do there?

Byrne: Brands can collaborate with creators, but they’ll also learn about best practices and how they can use YouTube to build their own audiences around a channel.

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YouTube is no longer a repository of videos tossed together in a free-for-all manner. The “channelification” of YouTube has been popular with advertisers and a boon for the video platform, too. Jamie Byrne, director of content strategy, spoke with eMarketer’s Paul Verna about how the channels underscore a number of innovations at the company.
eMarketer: YouTube is at the point where it is very much embedded into the mainstream of what people watch. Part of that is the creation of channels on the video platform—tell me about that development.
Jamie Byrne: On YouTube today, we’ve got Ridley Scott working with Machinima on sci-fi films they’re going to release on the Machinima channel. We’ve got Simon Cowell running a global talent competition on You Generation. We’ve got Sarah Silverman and Michael Cera partnered on a comedy channel called JASH. Our focus on original programming has had some elements of funding and [unknown] creative, [as well as] mainstream creators. The creators we have on the platform really engage with YouTube and connect with their audiences.
What we’ve been working on for the past two years is what we sometimes call the “channelification” of YouTube. You’re right: In the early days, YouTube was a repository of videos, and people would just search to find the videos they wanted to watch. We’ve made a big shift, and now the entire YouTube experience is oriented around the idea of channels, and there are two reasons that’s important. One is to help users find the content they love and stay engaged with it, regardless of what platform they happen to be on. So if you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through, and it makes it really easy for you to kind of stay connected to that content.
Three or four years ago, advertisers looked at a repository of videos, and it was very hard for them to make sense of it. It’s not similar to the way they had traditionally bought their television advertising. So this channel [strategy] is also really about us helping elevate creators as channel brands that advertisers can understand [the way they understand TV channels].
“If you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through.”
They see brands like Machinima that start to become truly crossover because they’ve reached such great scale. Or they see creators like Smosh—the first creators to pass 10 million subscribers. Then you can start to talk about real scale that advertisers can begin to understand and align around.
eMarketer: How is the channel initiative paying off for you?
Byrne: Today, all 100 of the top 100 advertisers are advertising or have advertised on YouTube in the past couple of months. In terms of user engagement, if we were to go back a year ago, we had 78 channels that had a million subscribers, and today there are 325 channels at that level.
eMarketer: When you see something like, for example, “House of Cards,” get all those Emmy nominations and be an almost instant success on Netflix, do you think to yourself, “I wish we could be getting some of that audience,” or is that something you celebrate because it creates more scale for what you’re trying to do?
Byrne: We absolutely celebrate that. It’s important to recognize that Netflix is actually commissioning those individual shows, and we are a different kind of platform. But, we are a platform for content creators, and some of our content creators are getting those types of accolades. We encourage our creators to distribute not only on YouTube, but to look at opportunities with Netflix, Hulu or Amazon.com.
For example, WIGS—one of our original funded channels a few years ago that’s focused on women—also now distributes its content on Hulu. It has some content it does on YouTube, and it’s also using Hulu as a distribution point. It’s all kind of very symbiotic.
eMarketer: Tell me a little bit about this production space in Los Angeles. Did I just read that you’re about to break ground on one in New York?
Byrne: We are, absolutely. The creator space is really a concept to try and figure out how to help our content creators get better at what they do. It’s also a place where they can collaborate with one another—that’s a really important thing in the YouTube ecosystem. Content creators work together and share audiences. They also get access to amazing production equipment.
You can imagine that some of these creators use the tools they have at their disposal. But coming into the creator space, we’ve been able to put state-of-the-art equipment in there, and it’s really fun and exciting to see what they do with it. It’s great when you have someone who has a great creative mind and is really technically capable, but who never gets access to a 10,000-square-foot soundstage.
“The creator space is really a concept to try and figure out how to help our content creators get better at what they do.”
Any content creator who is a partner of ours can apply to a residency there that is anywhere from one week to a month long. There’s a creator, Freddie [Wong], who you may have heard of, who has a show called “Video Game High School.” He crowdsourced the funding for that on Kickstarter. He had a monthlong residency at the Los Angeles creator space that we filmed.
We have a creator space in Los Angeles, London and Tokyo, and the one in New York is going to be really exciting because not only is it a space for creators, but New York is the media capital of the world and the advertising capital of the world, and the space will also have a brand lab at the same facility.
eMarketer: What do brands do there?
Byrne: Brands can collaborate with [creators], but they’ll also learn about best practices and how they can use YouTube to build their own audiences around a channel.

Read more at http://www.emarketer.com/Article/YouTube-Creates-Its-Future-Strategy-Around-Channels/1010254#AwJIZs4bwsUVRM72.99
YouTube is no longer a repository of videos tossed together in a free-for-all manner. The “channelification” of YouTube has been popular with advertisers and a boon for the video platform, too. Jamie Byrne, director of content strategy, spoke with eMarketer’s Paul Verna about how the channels underscore a number of innovations at the company.
eMarketer: YouTube is at the point where it is very much embedded into the mainstream of what people watch. Part of that is the creation of channels on the video platform—tell me about that development.
Jamie Byrne: On YouTube today, we’ve got Ridley Scott working with Machinima on sci-fi films they’re going to release on the Machinima channel. We’ve got Simon Cowell running a global talent competition on You Generation. We’ve got Sarah Silverman and Michael Cera partnered on a comedy channel called JASH. Our focus on original programming has had some elements of funding and [unknown] creative, [as well as] mainstream creators. The creators we have on the platform really engage with YouTube and connect with their audiences.
What we’ve been working on for the past two years is what we sometimes call the “channelification” of YouTube. You’re right: In the early days, YouTube was a repository of videos, and people would just search to find the videos they wanted to watch. We’ve made a big shift, and now the entire YouTube experience is oriented around the idea of channels, and there are two reasons that’s important. One is to help users find the content they love and stay engaged with it, regardless of what platform they happen to be on. So if you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through, and it makes it really easy for you to kind of stay connected to that content.
Three or four years ago, advertisers looked at a repository of videos, and it was very hard for them to make sense of it. It’s not similar to the way they had traditionally bought their television advertising. So this channel [strategy] is also really about us helping elevate creators as channel brands that advertisers can understand [the way they understand TV channels].
“If you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through.”
They see brands like Machinima that start to become truly crossover because they’ve reached such great scale. Or they see creators like Smosh—the first creators to pass 10 million subscribers. Then you can start to talk about real scale that advertisers can begin to understand and align around.
eMarketer: How is the channel initiative paying off for you?
Byrne: Today, all 100 of the top 100 advertisers are advertising or have advertised on YouTube in the past couple of months. In terms of user engagement, if we were to go back a year ago, we had 78 channels that had a million subscribers, and today there are 325 channels at that level.
eMarketer: When you see something like, for example, “House of Cards,” get all those Emmy nominations and be an almost instant success on Netflix, do you think to yourself, “I wish we could be getting some of that audience,” or is that something you celebrate because it creates more scale for what you’re trying to do?
Byrne: We absolutely celebrate that. It’s important to recognize that Netflix is actually commissioning those individual shows, and we are a different kind of platform. But, we are a platform for content creators, and some of our content creators are getting those types of accolades. We encourage our creators to distribute not only on YouTube, but to look at opportunities with Netflix, Hulu or Amazon.com.
For example, WIGS—one of our original funded channels a few years ago that’s focused on women—also now distributes its content on Hulu. It has some content it does on YouTube, and it’s also using Hulu as a distribution point. It’s all kind of very symbiotic.
eMarketer: Tell me a little bit about this production space in Los Angeles. Did I just read that you’re about to break ground on one in New York?
Byrne: We are, absolutely. The creator space is really a concept to try and figure out how to help our content creators get better at what they do. It’s also a place where they can collaborate with one another—that’s a really important thing in the YouTube ecosystem. Content creators work together and share audiences. They also get access to amazing production equipment.
You can imagine that some of these creators use the tools they have at their disposal. But coming into the creator space, we’ve been able to put state-of-the-art equipment in there, and it’s really fun and exciting to see what they do with it. It’s great when you have someone who has a great creative mind and is really technically capable, but who never gets access to a 10,000-square-foot soundstage.
“The creator space is really a concept to try and figure out how to help our content creators get better at what they do.”
Any content creator who is a partner of ours can apply to a residency there that is anywhere from one week to a month long. There’s a creator, Freddie [Wong], who you may have heard of, who has a show called “Video Game High School.” He crowdsourced the funding for that on Kickstarter. He had a monthlong residency at the Los Angeles creator space that we filmed.
We have a creator space in Los Angeles, London and Tokyo, and the one in New York is going to be really exciting because not only is it a space for creators, but New York is the media capital of the world and the advertising capital of the world, and the space will also have a brand lab at the same facility.
eMarketer: What do brands do there?
Byrne: Brands can collaborate with [creators], but they’ll also learn about best practices and how they can use YouTube to build their own audiences around a channel.

Read more at http://www.emarketer.com/Article/YouTube-Creates-Its-Future-Strategy-Around-Channels/1010254#AwJIZs4bwsUVRM72.99
YouTube is no longer a repository of videos tossed together in a free-for-all manner. The “channelification” of YouTube has been popular with advertisers and a boon for the video platform, too. Jamie Byrne, director of content strategy, spoke with eMarketer’s Paul Verna about how the channels underscore a number of innovations at the company.
eMarketer: YouTube is at the point where it is very much embedded into the mainstream of what people watch. Part of that is the creation of channels on the video platform—tell me about that development.
Jamie Byrne: On YouTube today, we’ve got Ridley Scott working with Machinima on sci-fi films they’re going to release on the Machinima channel. We’ve got Simon Cowell running a global talent competition on You Generation. We’ve got Sarah Silverman and Michael Cera partnered on a comedy channel called JASH. Our focus on original programming has had some elements of funding and [unknown] creative, [as well as] mainstream creators. The creators we have on the platform really engage with YouTube and connect with their audiences.
What we’ve been working on for the past two years is what we sometimes call the “channelification” of YouTube. You’re right: In the early days, YouTube was a repository of videos, and people would just search to find the videos they wanted to watch. We’ve made a big shift, and now the entire YouTube experience is oriented around the idea of channels, and there are two reasons that’s important. One is to help users find the content they love and stay engaged with it, regardless of what platform they happen to be on. So if you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through, and it makes it really easy for you to kind of stay connected to that content.
Three or four years ago, advertisers looked at a repository of videos, and it was very hard for them to make sense of it. It’s not similar to the way they had traditionally bought their television advertising. So this channel [strategy] is also really about us helping elevate creators as channel brands that advertisers can understand [the way they understand TV channels].
“If you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through.”
They see brands like Machinima that start to become truly crossover because they’ve reached such great scale. Or they see creators like Smosh—the first creators to pass 10 million subscribers. Then you can start to talk about real scale that advertisers can begin to understand and align around.
eMarketer: How is the channel initiative paying off for you?
Byrne: Today, all 100 of the top 100 advertisers are advertising or have advertised on YouTube in the past couple of months. In terms of user engagement, if we were to go back a year ago, we had 78 channels that had a million subscribers, and today there are 325 channels at that level.
eMarketer: When you see something like, for example, “House of Cards,” get all those Emmy nominations and be an almost instant success on Netflix, do you think to yourself, “I wish we could be getting some of that audience,” or is that something you celebrate because it creates more scale for what you’re trying to do?
Byrne: We absolutely celebrate that. It’s important to recognize that Netflix is actually commissioning those individual shows, and we are a different kind of platform. But, we are a platform for content creators, and some of our content creators are getting those types of accolades. We encourage our creators to distribute not only on YouTube, but to look at opportunities with Netflix, Hulu or Amazon.com.
For example, WIGS—one of our original funded channels a few years ago that’s focused on women—also now distributes its content on Hulu. It has some content it does on YouTube, and it’s also using Hulu as a distribution point. It’s all kind of very symbiotic.
eMarketer: Tell me a little bit about this production space in Los Angeles. Did I just read that you’re about to break ground on one in New York?
Byrne: We are, absolutely. The creator space is really a concept to try and figure out how to help our content creators get better at what they do. It’s also a place where they can collaborate with one another—that’s a really important thing in the YouTube ecosystem. Content creators work together and share audiences. They also get access to amazing production equipment.
You can imagine that some of these creators use the tools they have at their disposal. But coming into the creator space, we’ve been able to put state-of-the-art equipment in there, and it’s really fun and exciting to see what they do with it. It’s great when you have someone who has a great creative mind and is really technically capable, but who never gets access to a 10,000-square-foot soundstage.
“The creator space is really a concept to try and figure out how to help our content creators get better at what they do.”
Any content creator who is a partner of ours can apply to a residency there that is anywhere from one week to a month long. There’s a creator, Freddie [Wong], who you may have heard of, who has a show called “Video Game High School.” He crowdsourced the funding for that on Kickstarter. He had a monthlong residency at the Los Angeles creator space that we filmed.
We have a creator space in Los Angeles, London and Tokyo, and the one in New York is going to be really exciting because not only is it a space for creators, but New York is the media capital of the world and the advertising capital of the world, and the space will also have a brand lab at the same facility.
eMarketer: What do brands do there?
Byrne: Brands can collaborate with [creators], but they’ll also learn about best practices and how they can use YouTube to build their own audiences around a channel.

Read more at http://www.emarketer.com/Article/YouTube-Creates-Its-Future-Strategy-Around-Channels/1010254#AwJIZs4bwsUVRM72.99
YouTube is no longer a repository of videos tossed together in a free-for-all manner. The “channelification” of YouTube has been popular with advertisers and a boon for the video platform, too. Jamie Byrne, director of content strategy, spoke with eMarketer’s Paul Verna about how the channels underscore a number of innovations at the company.
eMarketer: YouTube is at the point where it is very much embedded into the mainstream of what people watch. Part of that is the creation of channels on the video platform—tell me about that development.
Jamie Byrne: On YouTube today, we’ve got Ridley Scott working with Machinima on sci-fi films they’re going to release on the Machinima channel. We’ve got Simon Cowell running a global talent competition on You Generation. We’ve got Sarah Silverman and Michael Cera partnered on a comedy channel called JASH. Our focus on original programming has had some elements of funding and [unknown] creative, [as well as] mainstream creators. The creators we have on the platform really engage with YouTube and connect with their audiences.
What we’ve been working on for the past two years is what we sometimes call the “channelification” of YouTube. You’re right: In the early days, YouTube was a repository of videos, and people would just search to find the videos they wanted to watch. We’ve made a big shift, and now the entire YouTube experience is oriented around the idea of channels, and there are two reasons that’s important. One is to help users find the content they love and stay engaged with it, regardless of what platform they happen to be on. So if you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through, and it makes it really easy for you to kind of stay connected to that content.
Three or four years ago, advertisers looked at a repository of videos, and it was very hard for them to make sense of it. It’s not similar to the way they had traditionally bought their television advertising. So this channel [strategy] is also really about us helping elevate creators as channel brands that advertisers can understand [the way they understand TV channels].
“If you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through.”
They see brands like Machinima that start to become truly crossover because they’ve reached such great scale. Or they see creators like Smosh—the first creators to pass 10 million subscribers. Then you can start to talk about real scale that advertisers can begin to understand and align around.
eMarketer: How is the channel initiative paying off for you?
Byrne: Today, all 100 of the top 100 advertisers are advertising or have advertised on YouTube in the past couple of months. In terms of user engagement, if we were to go back a year ago, we had 78 channels that had a million subscribers, and today there are 325 channels at that level.
eMarketer: When you see something like, for example, “House of Cards,” get all those Emmy nominations and be an almost instant success on Netflix, do you think to yourself, “I wish we could be getting some of that audience,” or is that something you celebrate because it creates more scale for what you’re trying to do?
Byrne: We absolutely celebrate that. It’s important to recognize that Netflix is actually commissioning those individual shows, and we are a different kind of platform. But, we are a platform for content creators, and some of our content creators are getting those types of accolades. We encourage our creators to distribute not only on YouTube, but to look at opportunities with Netflix, Hulu or Amazon.com.
For example, WIGS—one of our original funded channels a few years ago that’s focused on women—also now distributes its content on Hulu. It has some content it does on YouTube, and it’s also using Hulu as a distribution point. It’s all kind of very symbiotic.
eMarketer: Tell me a little bit about this production space in Los Angeles. Did I just read that you’re about to break ground on one in New York?
Byrne: We are, absolutely. The creator space is really a concept to try and figure out how to help our content creators get better at what they do. It’s also a place where they can collaborate with one another—that’s a really important thing in the YouTube ecosystem. Content creators work together and share audiences. They also get access to amazing production equipment.
You can imagine that some of these creators use the tools they have at their disposal. But coming into the creator space, we’ve been able to put state-of-the-art equipment in there, and it’s really fun and exciting to see what they do with it. It’s great when you have someone who has a great creative mind and is really technically capable, but who never gets access to a 10,000-square-foot soundstage.
“The creator space is really a concept to try and figure out how to help our content creators get better at what they do.”
Any content creator who is a partner of ours can apply to a residency there that is anywhere from one week to a month long. There’s a creator, Freddie [Wong], who you may have heard of, who has a show called “Video Game High School.” He crowdsourced the funding for that on Kickstarter. He had a monthlong residency at the Los Angeles creator space that we filmed.
We have a creator space in Los Angeles, London and Tokyo, and the one in New York is going to be really exciting because not only is it a space for creators, but New York is the media capital of the world and the advertising capital of the world, and the space will also have a brand lab at the same facility.
eMarketer: What do brands do there?
Byrne: Brands can collaborate with [creators], but they’ll also learn about best practices and how they can use YouTube to build their own audiences around a channel.

Read more at http://www.emarketer.com/Article/YouTube-Creates-Its-Future-Strategy-Around-Channels/1010254#AwJIZs4bwsUVRM72.99
YouTube is no longer a repository of videos tossed together in a free-for-all manner. The “channelification” of YouTube has been popular with advertisers and a boon for the video platform, too. Jamie Byrne, director of content strategy, spoke with eMarketer’s Paul Verna about how the channels underscore a number of innovations at the company.
eMarketer: YouTube is at the point where it is very much embedded into the mainstream of what people watch. Part of that is the creation of channels on the video platform—tell me about that development.
Jamie Byrne: On YouTube today, we’ve got Ridley Scott working with Machinima on sci-fi films they’re going to release on the Machinima channel. We’ve got Simon Cowell running a global talent competition on You Generation. We’ve got Sarah Silverman and Michael Cera partnered on a comedy channel called JASH. Our focus on original programming has had some elements of funding and [unknown] creative, [as well as] mainstream creators. The creators we have on the platform really engage with YouTube and connect with their audiences.
What we’ve been working on for the past two years is what we sometimes call the “channelification” of YouTube. You’re right: In the early days, YouTube was a repository of videos, and people would just search to find the videos they wanted to watch. We’ve made a big shift, and now the entire YouTube experience is oriented around the idea of channels, and there are two reasons that’s important. One is to help users find the content they love and stay engaged with it, regardless of what platform they happen to be on. So if you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through, and it makes it really easy for you to kind of stay connected to that content.
Three or four years ago, advertisers looked at a repository of videos, and it was very hard for them to make sense of it. It’s not similar to the way they had traditionally bought their television advertising. So this channel [strategy] is also really about us helping elevate creators as channel brands that advertisers can understand [the way they understand TV channels].
“If you’re on your PC or laptop, and you subscribe to a channel and then pick up your phone or tablet, that subscription carries through.”
They see brands like Machinima that start to become truly crossover because they’ve reached such great scale. Or they see creators like Smosh—the first creators to pass 10 million subscribers. Then you can start to talk about real scale that advertisers can begin to understand and align around.
eMarketer: How is the channel initiative paying off for you?
Byrne: Today, all 100 of the top 100 advertisers are advertising or have advertised on YouTube in the past couple of months. In terms of user engagement, if we were to go back a year ago, we had 78 channels that had a million subscribers, and today there are 325 channels at that level.
eMarketer: When you see something like, for example, “House of Cards,” get all those Emmy nominations and be an almost instant success on Netflix, do you think to yourself, “I wish we could be getting some of that audience,” or is that something you celebrate because it creates more scale for what you’re trying to do?
Byrne: We absolutely celebrate that. It’s important to recognize that Netflix is actually commissioning those individual shows, and we are a different kind of platform. But, we are a platform for content creators, and some of our content creators are getting those types of accolades. We encourage our creators to distribute not only on YouTube, but to look at opportunities with Netflix, Hulu or Amazon.com.
For example, WIGS—one of our original funded channels a few years ago that’s focused on women—also now distributes its content on Hulu. It has some content it does on YouTube, and it’s also using Hulu as a distribution point. It’s all kind of very symbiotic.
eMarketer: Tell me a little bit about this production space in Los Angeles. Did I just read that you’re about to break ground on one in New York?
Byrne: We are, absolutely. The creator space is really a concept to try and figure out how to help our content creators get better at what they do. It’s also a place where they can collaborate with one another—that’s a really important thing in the YouTube ecosystem. Content creators work together and share audiences. They also get access to amazing production equipment.
You can imagine that some of these creators use the tools they have at their disposal. But coming into the creator space, we’ve been able to put state-of-the-art equipment in there, and it’s really fun and exciting to see what they do with it. It’s great when you have someone who has a great creative mind and is really technically capable, but who never gets access to a 10,000-square-foot soundstage.
“The creator space is really a concept to try and figure out how to help our content creators get better at what they do.”
Any content creator who is a partner of ours can apply to a residency there that is anywhere from one week to a month long. There’s a creator, Freddie [Wong], who you may have heard of, who has a show called “Video Game High School.” He crowdsourced the funding for that on Kickstarter. He had a monthlong residency at the Los Angeles creator space that we filmed.
We have a creator space in Los Angeles, London and Tokyo, and the one in New York is going to be really exciting because not only is it a space for creators, but New York is the media capital of the world and the advertising capital of the world, and the space will also have a brand lab at the same facility.
eMarketer: What do brands do there?
Byrne: Brands can collaborate with [creators], but they’ll also learn about best practices and how they can use YouTube to build their own audiences around a channel.

Read more at http://www.emarketer.com/Article/YouTube-Creates-Its-Future-Strategy-Around-Channels/1010254#AwJIZs4bwsUVRM72.99

Wednesday, September 25, 2013

Online Video Ad Views Reach New Heights


Online video ad views have been increasing rapidly this year, reaching a new high of 22.8 billion in August after a slight dip in July, according to the latest data from comScore. Last year, video ad views totaled 9.5 billion in August, when comScore’s methodology changed, demonstrating just how many more online video ads Americans are now watching on a monthly basis. Interestingly, this year’s increases aren’t the result of far greater reach among Americans. Rather, viewers are each seeing a much larger number of ads.



During the month, 55.6% of the US population was reached by online video ads, up only slightly from 55.4% the previous month. While reach has increased every month this year, the growth has been incremental, up from 50.5% in January.

Video ad frequency, though, has been growing more rapidly. In August, the average viewer saw 132 ads, besting the previous high of 121 set in June, and more than doubling January’s average of 58.

Google remained the top online video ad property in August, delivering roughly 3.2 billion ads. ADAP.TV moved back into the second spot (2.45 billion), ahead of BrightRoll (2.39 billion), LIVERAIL (2.2 billion), and Specific Media (1.67 billion), as 8 properties delivered more than 1 billion impressions.

In terms of video content, Google Sites again had the highest number of unique viewers (167 million), followed by AOL (71.2 million), Facebook (62.2 million), NDN (50.7 million) and VEVO (49.4 million).

Overall, comScore’s data indicates that 87% of online Americans watched video content in August, with the total number of videos viewed dropping to 46.7 billion from 48.5 billion in July. The duration of the average content video was 5.2 minutes, with the average online video ad lasting 24 seconds.

The average online video viewer spent about 21.6 hours watching video content during the month. A comparison of TV and online video consumption can be found here.

Other Findings:

  • Among the top 10 video content properties, Google Sites generated the highest engagement, at an average of 522 minutes per viewer during the month. NDN was next at 92 minutes per viewer.
  • VEVO retained its top spot in the YouTube partner rankings with almost 48 million unique viewers, followed by FullScreen and Maker Studios.

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Monday, September 23, 2013

How YouTube’s Offline Videos Will Work


YouTube is getting ready to make an important change, by letting people watch the site’s videos even when they’re not connected to the Internet.

Google announced the move in a blog post Tuesday night: You’ll need to use a YouTube mobile app to watch the videos, which will contain ads. You’ll have up to 48 hours to watch the stuff you take offline.

Here’s a bit more detail about Google’s plans, via a e-mail YouTube sent out to “partners” — YouTube uploaders it has a commercial relationship with.

Most of the new stuff here deals with the logistics of the online/offline transfer. It’s also worth noting that YouTube says this does not apply to the movies and TV shows it offers for rent and purchase.
Note that YouTube assumes that offline viewability will be the default state for its videos — if you don’t want your stuff watched this way, you need to tell them.

One other note: While YouTube doesn’t say anything here about music videos — perhaps YouTube’s single most popular genre — I would be surprised if the music industry has given YouTube the ability to let people download music clips for free. I’m reasonably sure that YouTube has the rights to offer those clips for offline play, but only via a subscription service. YouTube declined to discuss that one.

Here’s a truncated version of YouTube’s mass email:
Dear Partner,

We’re writing to let you know about a new functionality that is currently scheduled to launch in November that impacts your content. This functionality is part of ongoing updates to give users more opportunities to enjoy videos and channels on YouTube mobile. The functionality is launching with all partners enabled but if you wish, you can disable now. Below is more information on the functionality and directions for how to disable.

What’s happening

On the YouTube app, users will be able, through “add to device” functionality available on videos and playlists, to designate certain content that they can watch for a short period of time when an internet connection is unavailable. With this, if a user experiences a loss of connectivity, they will still be able to watch the videos that they’ve added to their device for a limited period of up to 48 hours. If the device is offline for more than 48 hours the content cannot be viewed offline until the device reconnects. Once connected, the offline window refreshes and the viewer is able to watch the content again.

How it works for viewers

From the watch page through the “add to device” functionality feature, viewers will be able to designate certain content that they can watch for a short period of time when they do not have connectivity. At the time when the user no longer has connectivity, they will be able to watch the videos and playlists they have added to their device by accessing the videos through an “on device” section of their guide.

How it works for partners: ads and viewcounts

Google in-stream ads will run in connection with the content, and views will be added to the total view count. Please note that other ad formats will not be supported, and, videos for rental or purchase will not be included in this functionality.

All content is enabled. But you can disable now

By default all of your content will be enabled for the functionality, but you can disable now before the functionality launches. You will be able to disable by: partner, and available before launch, by asset, video and country. When you disable at the content owner or partner level, we apply this policy across all your videos, regardless of whether they are enabled at the asset, video and country level. To ensure all your content is disabled, you should disable at the content owner or partner level.
-AllThingsD

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Sunday, September 22, 2013

Size matters when it comes to video ad completion rates

Women watch more video ads than men

Digital video is surging. According to Cisco Systems, US internet video traffic in 2012 averaged 4.6 exabytes per month, and by 2017, that figure will more than triple to 17.1 exabytes per month.



As internet video takes off, the number of advertisers clamoring to invest in the format will continue to rise. A strong understanding of the performance metrics and audience breakdown for digital video ads will be critical to marketers.

In Q1 2013, in-stream video buying platform VideoHub analyzed digital video impressions on its network and found some surprising results. While web video is most often watched by men, VideoHub found that 53% of total digital video ad impressions were served to women, with males seeing the remaining 47%. Younger web users conducted the vast majority of video viewing, indicating that marketers targeting teens and millennials would be well served by video ads. Those between 12 and 24 years old accounted for more than half of all viewed video ad impressions on VideoHub’s network.

As for performance based on the length of a video ad, there was considerable variation and lack of a clear trend line. Completion rates were lowest for video ads that lasted between 30 to 60 seconds (77%), but ads that ran for 30 seconds or less saw an 84% completion rate, the second-highest of any video ad length measured, indicating that short ads do not necessarily equal low completion rates. The absolute highest completion rate went to ads that were between 30 and 60 minutes.

Most likely, very few ads actually are as long as 30 minutes, or even 5 minutes, which may mean that viewers who sign on for such video ads are particularly receptive to them. But the other takeaway is that how compelling the ad is may be more important than how long it is.



Performance metrics based on the size of US video ads saw a clearer trajectory than ad length. The larger the video ad, the higher the completion rate, with a 93.0% completion rate for extra-large video ads vs. a 66.0% completion for extra-small video ads. Clickthrough rates (CTR) also seemed to rise with video ad sizes. However, once ads were medium-sized or bigger, CTRs went up to at least 0.9% and continued to hover in that range.



Ads in the medium to large range were also the most common video ads, accounting for 77.4% of served impressions, indicating that marketers know these sizes are strongest.

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Friday, September 20, 2013

comScore Releases August 2013 US Online Video Rankings


AOL Climbs into Second Place in Online Video Content Ranking with 71 Million Viewers

comScore, Inc. today released data from the comScore Video Metrix service showing that 188.5 million Americans watched 46.7 billion online content videos in August, while the number of video ad views totaled 22.8 billion. 

Top 10 Video Content Properties by Unique Viewers
Google Sites, driven primarily by video viewing at YouTube.com, ranked as the top online video content property in August with 167 million unique viewers. AOL captured the #2 spot with 71.2 million, followed by Facebook with 62.2 million, NDN with 50.7 million and VEVO with 49.4 million. 46.7 billion video content views occurred during the month, with Google Sites generating the highest number at 17.4 billion, followed by AOL, Inc. with 992 million and Facebook with 803 million. Google Sites had the highest average engagement among the top ten properties.

Top U.S. Online Video Content Properties Ranked by Unique Video Viewers
August 2013, Total U.S. – Home and Work Locations
Content Videos Only (Ad Videos Not Included)
Property Total Unique Viewers (000) Videos (000)* Minutes per Viewer
Total Internet : Total Audience  188,499 46,746,596 1,294.3
Google Sites 166,966 17,437,897 521.6
AOL, Inc. 71,202 991,800 56.8
Facebook 62,183 803,148 21.6
NDN 50,650 569,815 92.0
VEVO 49,371 609,833 42.3
Microsoft Sites 48,894 689,704 33.0
Yahoo! Sites 45,049 368,975 79.2
Viacom Digital 44,434 452,938 45.2
Amazon Sites 34,499 133,380 22.5
Collective Video 31,857 149,318 29.1
*A video is defined as any streamed segment of audiovisual content, including both progressive downloads and live streams. For long-form, segmented content, (e.g. television episodes with ad pods in the middle) each segment of the content is counted as a distinct video stream. Video views are inclusive of both user-initiated and auto-played videos that are viewed for longer than 3 seconds.
Top 10 Video Ad Properties by Video Ads Viewed
Americans viewed nearly 22.8 billion video ads in August, with Google Sites ranking #1 with 3.2 billion ad impressions. Adap.tv came in second with more than 2.4 billion ads, followed by BrightRoll Platform with 2.4 billion and LiveRail.com with 2.2 billion. Time spent watching video ads totaled 8.5 billion minutes, with BrightRoll Platform and Adap.tv delivering the highest duration of video ads at 1.1 billion minutes each. Video ads reached 56 percent of the total U.S. population an average of 132 times during the month. Hulu delivered the highest frequency of video ads to its viewers with an average of 71.

Top U.S. Online Video Ad Properties Ranked by Video Ads* Viewed
August 2013, Total U.S. – Home and Work Locations
Ad Videos Only (Content Videos Not Included)
Property Video Ads (000) Total Ad Minutes (MM) Frequency (Ads per Viewer) % Reach Total U.S. Population
Total Internet : Total Audience  22,755,256 8,518 132.3 55.6
Google Sites 3,171,612 301 28.5 35.9
ADAP.TV† 2,448,969 1,126 18.0 44.0
BrightRoll Platform**† 2,392,855 1,103 14.4 53.7
LIVERAIL.COM† 2,203,060 859 28.4 25.1
Specific Media** 1,665,541 645 13.0 41.2
SpotXchange Video Ad Marketplace† 1,249,149 467 14.4 28.1
Hulu 1,247,868 475 71.4 5.6
TubeMogul Video Ad Platform† 1,148,595 380 15.0 24.7
Tremor Video** 846,112 390 13.2 20.7
Videology† 751,183 291 9.8 24.8
*Video ads include streaming-video advertising only and do not include other types of video monetization, such as overlays, branded players, matching banner ads, etc.
**Indicates video ad network
†Indicates video ad exchange/DSP/SSP
Top 10 YouTube Partner Channels by Unique Viewers
The August 2013 YouTube partner data revealed that video music channel VEVO maintained the top position in the ranking with 47.8 million viewers. Fullscreen held on to the #2 position with 34.5 million viewers, followed by Maker Studios Inc. with 29.6 million, Warner Music with 26.9 million and ZEFR (formerly MovieClips) with 24.9 million. Among the top 10 YouTube partners, Machinima demonstrated the highest engagement (91 minutes per viewer), followed by Maker Studios Inc. (65 minutes per viewer). VEVO streamed the greatest number of videos (580 million), followed by Maker Studios Inc. (521 million).

Top YouTube Partner Channels* Ranked by Unique Video Viewers
August 2013, Total U.S. – Home and Work Locations
Content Videos Only (Ad Videos Not Included)
Property Total Unique Viewers (000) Videos (000) Minutes per Viewer
VEVO @ YouTube 47,764 580,437 40.8
Fullscreen @ YouTube 34,541 361,302 32.7
Maker Studios Inc. @ YouTube 29,573 521,066 65.1
Warner Music @ YouTube 26,921 159,047 19.2
ZEFR @ YouTube 24,893 126,822 13.8
The Orchard @ YouTube 21,197 87,548 12.1
Blizzard @ YouTube 18,261 43,062 4.1
rumblefish @ YouTube 17,784 44,429 7.0
Machinima @ YouTube 17,050 391,755 90.9
UMG @ YouTube 16,311 55,998 10.5

Other notable findings from August 2013 include:
  • 87 percent of the U.S. Internet audience viewed online video.
  • The duration of the average online content video was 5.2 minutes, while the average online video ad was 0.4 minutes.
  • Video ads accounted for 32.7 percent of all videos viewed and 3.4 percent of all minutes spent viewing video online.

Take your video marketing to the next level.
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Tuesday, September 10, 2013

Social Video: Viral Isn't Necessary To Make An Impact



When it comes to talking social video, the buzzword on most people’s lips is usually ‘viral.’ But viral and social video are two different breeds and naturally, so are viral and social marketing.

While a viral approach is about making a quick hit with content designed to become hugely popular over a short period, social video is about building an audience and establishing trust with that audience via word-of-mouth recommendations.

But whatever scale your video operates at, social video is ripe with opportunities for a brand or publisher to deepen engagement, boost loyalty and grow awareness.

Video, through its capacity for storytelling and triggering an emotional response – is inherently social, and so lends itself to online conversations.

With 13 minutes of every hour online spent on social networking, any brand or publisher looking to create maximum impact with their video must have a strategy for social.

What makes some videos more ‘shareable’ than others?

  • Keep it punchy: long-form content is not the stuff of social sharing; aim to keep your video to under three minutes.
  • Make it easy to share: Enabling social sharing buttons in the video player for viewers to start sharing your video.
  • Remind viewers to share: Promote sharing at video completion and embed clickable calls to action that draw engaged viewers back to your site.
  • Use the right technology. Don’t underestimate the importance of the technology powering your video in the background. Brands should use an online video management solution that directly integrates with social media platforms and provides analytics for reviewing the performance of video, to see what works best for your brand and audience; a strategy that works for one organization may not work for another.
  • Use your metadata. Having complete titles, descriptions and tags will make it easier for your videos to be found in the first place.


Spotlight on Facebook

While a marketing approach focused on viral video can  create an instant internet hit (think ‘Old Spice’), a successful social video strategy should use social media to extend, enhance and amplify a brand’s online video content.

With advertising and marketing budgets shifting, brands are increasingly dedicating resources to content production, becoming publishers in their own right, so it only makes sense to push those marketing messages to the places where consumers are spending the bulk of their time online (social).

What’s more, videos shared through social media outlets perform very well compared to their static counterparts – particularly in terms of engagement rates.

Users who stumble across videos in their Facebook feeds have a great incentive to hit ‘play;’ a friend taking the time to share a video would suggest that watching the clip is worth your time.

Coming from a friend, the recommendation adds gravitas to the content and the motivation to watch it.

For brands, in-stream playback is also very important. It allows viewers to watch content without navigating away from their main browsing activity, something which is also incredibly important for media companies that monetise their online content with ads.

Some videos embedded in the Facebook feed have the functionality that allows you to include whatever ads you have scheduled as they would appear on your own site, so you can make every impression count.

Link, link, share, tweet

Video continues to be one of the most popular and fastest-growing content types shared across the web today. With sites such as Facebook now providing prime viewing environments, and representing a major source of content discovery, social media and video make a powerful combination.

Used effectively, video is the perfect vehicle for raising awareness and engagement with audiences in the ever-maturing realm of social networking.-eConsultancy

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Monday, September 9, 2013

The Power of Video on Mobile Devices

Many brands are still trying to fine-tune their mobile video campaigns to capture the hearts and minds of consumers on the go. Because of mobile’s unique capacity for full-screen, immersive video and immediate engagement, a successful mobile campaign comes down to three factors: production value, engaging obsessive audiences, and creating great ads with even greater content.

Production Value Matters
The key to a great campaign begins with an overall commitment to high quality. That commitment begins with a premium content environment for the ad and extends into the mobile video ad execution itself. Because ads built without the highest standards of production often have short-lived impact, brands must be careful to invest wisely to nurture rich, immersive, and high quality executions with staying power. Premium might cost more, but the value is evident in the completion rates — often 80% or higher.

Engaging Obsessive Audiences
An inherently intimate and interactive platform, mobile is ripe for engagement. Marketers who win in mobile understand that they must find ways to pull users in by appealing to their interests. Inviting the inclined audience to initiate, expand, explore, and stay in the brand’s creative strokes arena,

Marketers need only think through the right mechanics for enthralling these audiences and keeping them engaged with the content over time.

The Power of More
With high production value and obsessive audiences, the power of giving audiences more of the content they want is undeniable. Games, interactive experiences, and fun, useful content beyond the original ad experience only pulls consumers in deeper, allowing them to engage with brands on their own terms. High completion rates in premium content environments point to the fact that users recognize a fair value exchange. Engagement beyond the initial 15-second spot identifies consumers who are not just resigned to viewing an ad before the content; they actually want to watch.  They also recognize they can get more of what they want by engaging with the ad — be that more entertainment, deals, or information about the product.

As mobile continues on its growth path, it does not benefit us as an industry to hold onto old conventions of digital display, nor to believe we can simply port over those conventions to the mobile environment. Mobile is unique. Sustained growth in mobile is about immersive video and the engaging experiences users experience after the tap. Ultimately, success in mobile depends on staying true to high quality production, tapping into obsessive audiences and potential brand ambassadors, and delivering more, rich content for consumers who demand more.-MediaPost
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Thursday, September 5, 2013

Video Ads Get Higher Click-Throughs In Mobile



People are more likely to click on ads while watching video on smartphones and tablets than on the desktop, according to new findings from video ad provider TubeMogul.

Click-through rates for pre-roll ads shown on mobile devices were 4.9%, on average, compared to 0.6% on PCs, based on second-quarter data from the company’s media-buying platform spanning millions of mobile ad views in the U.S.

David Burch, communications director at TubeMogul, suggested that the higher engagement rate in mobile stems from people being in more of a casual mindset than on the desktop since they are less likely to be at work when seeing the ads, especially on a tablet. TubeMogul’s research showed tablet ad viewing peaks during prime time (8 p.m. to midnight), while the pattern for phones was steadier throughout the day.

Looking at tablets by operating system, viewing on Android and iOS was similar, reaching highs during morning and prime-time hours. The absolute peak for iPad users, however, was a bit later -- from 10 p.m. to midnight -- when Android tablet owners tailed off. There was more of a contrast between mobile platforms on the phone side.

Ad viewing among iPhone users peaked from 7 a.m. to 10 a.m., while Android phone users tend to come alive at night, watching ads mainly during prime-time hours. The lone exception for iPhone owners is at midnight, when they switch back on to watch videos before going to bed.

The TubeMogul data also showed that most mobile video ads viewing takes place late in the week, with nearly half (49%) of ads watched between Thursday and Saturday. The peak is Thursday, when 17% of views take place, followed closely by Saturday, at 16.7%.

Similarly, ad completion rates are highest on the weekend, likely reflecting the greater amount of leisure time that people have during that time. That rate averages 52.2% on the weekend, compared to 44.4% during the week. Completion rates tend to spike during the morning and afternoon hours on the weekend rather than in the evening.

Comparing interaction by country, completion rates were highest in Canada at 64.1%, followed by the U.K. (56.3%), the U.S. (53.2%), Singapore (46.9%), and New Zealand (34.4%). TubeMogul said the U.S. rate has increased 7.1% on a monthly basis. Singapore had the highest mobile click-through rate, at 7.6%), trailed by the U.S. (4.9%), Canada (3.4%), New Zealand (3.1%), and the U.K. (1.5%).

In its latest cross-platform report, Nielsen said 45.3 million people watched video on a mobile phone in the first quarter, up from 36 million in the year-earlier period. Time spent viewing mobile video also increased to five hours, one minute a month, from four hours, 29 minutes a year ago.-MediaPost

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Tuesday, September 3, 2013

Viewable US Online Video Ads [study]


Online video ads are reaching an ever-growing number of Americans, but how many are being seen? A new study from VideoHub indicates that during the first quarter, average viewability for online video ads in the US was 83%, although rates varied widely among properties, from 43% on the low end to 94% on the high end. Broadcast TV sites fared best (89% on average) among property categories, with networks and exchanges (73%) bringing up the rear.

VideoHub says it’s the only MRC-accredited technology for a viewability solution for video, and defines average viewability percentage as “the number of an ad’s pixels you saw divided by the number of pixels you could have seen.”

54% of online ads aren’t viewed, comScore recently estimated, though in-view rates tended to be higher for premium sites. (Viewability in that case was defined as 50% of pixels being in-view for at least one second.)

The VideoHub report covers a host of different topics related to online video ads. Following is a list of highlights:
  • Video ad delivery was fairly constant throughout the day, although completion rates tended to be higher for ads delivered during primetime hours;
  • CPG was the largest advertising vertical, at 31% share of ads, a finding that aligns with similar data from Videology;
  • The average completion rate of a video ad was 85%, though completion rates ranged from 34-100%;
  • Completion rates were highest for the largest player sizes, generally declining alongside smaller player sizes;
  • The average click-through rate (CTR) for a video ad was 1.07%, though the range was also wide (0.6%-8.7%);
  • 1-3 minute videos and videos at least one hour in length had the same completion rate (83%), although average CTR was much higher for the longer videos;
  • A majority 53% of VideoHub’s ads were delivered towards women; and
  • Exactly one-half of the ads were delivered towards 18-34-year-olds, although this group was least likely to click on an ad.
About the Data: All data was collected from VideoHub for Advertisers (VHA) platform between January 1 – March 31, 2013. The results reflect analysis of 2.3 billion ad impressions from 44 media properties.-MarketingCharts

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