Official Artist Channel Playbook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Youtube Yrityksen Markkinoinnin Välineenä
Lassi Tuomikoski Youtube yrityksen markkinoinnin välineenä Metropolia Ammattikorkeakoulu Tradenomi Liiketalouden koulutusohjelma Opinnäytetyö Lokakuu 2014 Tiivistelmä Tekijä Lassi Tuomikoski Otsikko Youtube yrityksen markkinoinnin välineenä Sivumäärä 47 sivua + 2 liitettä Aika 9.11.2014 Tutkinto Tradenomi Koulutusohjelma Liiketalous Suuntautumisvaihtoehto Markkinointi Ohjaaja lehtori Raisa Varsta Tämän opinnäytetyön tarkoituksena oli luoda ohjeistus oman sisällön luomiseen Youtubessa aloittelevalle yritykselle. Työn toisena tavoitteena on osoittaa, miten yritys pystyy hyödyntämään videonjakopalvelu Youtubea omassa liiketoiminnassaan muiden markkinoinnin keinojen avulla. Työn viitekehyksessä käydään läpi keskeisimmät käsitteet ja termit ja esitellään Youtube yrityksenä sekä videonjakopalveluna. Työssä kerrotaan, millä eri tavoin yritys voi näkyä Youtubessa ja Youtube yrityksen markkinoinnissa. Toiminnallisena osana työtä tuotettiin konkreettisten esimerkkien pohjalta ohjeistus Youtuben parissa aloittelevalle yritykselle siitä, kuinka päästä alkuun tehokkaassa ja yritykselle lisäarvoa tuottavassa sisällöntuottamisessa. Mitä asiota oman sisällön luomisessa täytyy ottaa huomioon ja millä keinoilla Youtubessa voidaan menestyä. Opinnäytetyön johtopäätöksenä todettiin, että ennen oman sisällön luomista on yrityksen sisältöstrategian oltava kunnossa. Sisällön tärkeyttä ei voi oman sisällön luomisessa tarpeeksi korostaa. Sisällön on oltava merkityksellistä asiakkaan kannalta. Avainsanat youtube, sisältömarkkinointi, sosiaalinen media Abstract -
Black Women's Youtube Channels in Brazil As Fortalecimento
Black Faces in White Spaces: Black Women’s YouTube Channels in Brazil as Fortalecimento ALIDA PERRINE University of Texas, Austin Abstract: A large and growing network of black women YouTubers in Brazil mobilize strategies of fortalecimento, a term used by some women to refer to how they prepare themselves to face the barriers created by the gendered racial hierarchy of Brazilian society. In this article, I examine these YouTube channels and the tactics black women use to increase their own visibility, to value black aesthetics, and to denounce racist and sexist acts or representations. Furthermore, I consider the importance of physical spaces, such as production studios, for YouTube success, and how black women negotiate material spaces as well as the video sharing platform to maximize their visibility and encroach on predominantly white spaces of cultural production. Using theories of intersectionality, representation, and subjecthood, I examine how these women use (virtual) communities to re-signify and pluralize black womanhood in Brazil. Keywords: Racism, sexism, social media, representation, cultural resistance When Nátaly Neri, a 21-year-old black college student, started her YouTube channel in 2015, it was one among thousands of other channels containing do-it- yourself videos about sewing and hairstyles. Scrolling through her videos, one finds showcases of thrift-store finds transformed into the unique fashion that defines Neri’s style, as well as detailed documentation of her transitions from braids to dreads and beyond. For many young black women like Neri with channels on YouTube, not just in Brazil but throughout the diaspora, haircare and styling is a common entry point to the practice of self-vlogging. -
Over 3 Million Youtube Creators Globally Receive Some Level Of
MEDIA FOLLOW THIS Social media entertainment – the kind that has seen huge growth on YouTube and other platforms – needs understanding if there is to be any measured policy response, writes STUART CUNNINGHAM from an Australian perspective ver the past 10 years or so, in the midst of all 1+ million; 2,000+ Australian YouTube channels the cacophony of change we are well familiar earned between $1,000 and $100,000 and more than with, a new creative industry was born. With 100 channels earned more than $100,000. More O my collaborator David Craig, a veteran than 550,000 hours of video were uploaded by Hollywood executive now teaching at the University Australian creators and over 90% of the followers of of Southern California Annenberg School for Australian channels were international. Communication and Journalism, I have been That’s only YouTube, and only the programmatic examining the birth and early childhood of what advertising revenue that can be tracked by Google. we call social media entertainment. It is peopled by A Google-funded study by AlphaBeta2 estimates that cultural leaders, entertainers and activists most of the number of content creators in Australia has whom you may be very unfamiliar with... Here more than doubled over the past 15 years, almost are some of them – Hank Green, Casey Neistat, wholly driven by the entry of 230,000 new creators PewDiePie, Tyler Oakley. of online video content. The same study estimates We understand social media entertainment to be that online video has created a A$6 billion an emerging industry based on previously amateur consumer surplus (the benefit that consumers get creators professionalising and monetising their in excess of what they have paid for that service). -
Youtube Money: the Mpi Act of Brand Management on Online Video Companies Samantha Perry Rollins College, [email protected]
Rollins College Rollins Scholarship Online Honors Program Theses Spring 2016 YouTube Money: The mpI act of Brand Management on Online Video Companies Samantha Perry Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/honors Part of the Business Administration, Management, and Operations Commons, E-Commerce Commons, and the Entrepreneurial and Small Business Operations Commons Recommended Citation Perry, Samantha, "YouTube Money: The mpI act of Brand Management on Online Video Companies" (2016). Honors Program Theses. Paper 32. This Open Access is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. YouTube Money: The Impact of Brand Management on Online Video Companies Samantha Perry ___________________ ___________________ A Senior Honors Thesis Presented to the Faculty of the Department of International Business and Honors Degree Program In Partial Fulfillment of the Requirements for the Degree Artium Baccalaureus Honoris ____________________ April 2016 Faculty Sponsor: Emmanuel Kodzi ____________________ Rollins College Winter Park, FL ii Abstract Many YouTube channels today operate not only as miniature media outlets, but as fully functional media companies operating independently through advertising revenue. The top creators of content on YouTube bring in millions of dollars of revenue each year. This thesis seeks to answer the question of how content creators can harness the power of brand management strategy in order to maximize revenue and grow their audiences over time. I overview current trends among content creators industry-wide, and then focus on a group of channels to analyze their brand management habits on- and off-line. -
Zeke Rodrigues Thomas Executive Producer
Zeke Zeke Rodrigues Thomas Rodrigues Santa Monica, CA, 90404 310.621.9420 [email protected] Thomas Legal Rep: Marios Rush Executive Producer/ [email protected] Showrunner Literary Manager: Kevin Herrera Producers Guild of America [email protected] SAG-AFTRA ㅡ About I’m an award winning filmmaker and host who loves working in both scripted and unscripted comedy. I’ve written for a variety of formats including: scripted and unscripted short form, live streams, 360/VR, as well as coming in during post to reshape a show from scratch. But I aspire to show-run half hour single camera comedies. I love breaking story, fleshing out character/season arcs, and punching up jokes. The writer’s room is one of my favorite places on earth. ㅡ Experience SCRIPTED Selected Executive Producer, Don’t Go Alone, Season One, Nickelodeon-VDS, 2018 Producer/Writer, Trigger Men, Short Film - Mindjam Media, 2018 Director/Writer, Karate City, Short Film - Mindjam Media, 2017 ★ Austin Film Festival, Semi-finalist Comedy Pilot Script, 2018 Showrunner, Lullaby: A Zombie Musical, Pilot Presentation, Skybound Ent., 2015 Producer/Writer, Nourish, Short Film, Legendary, 2014 UNSCRIPTED and HYBRID Selected Creator/Writer, Annie vs Hayley: LeBake Off, Season One, Nickelodeon-VDS, 2019 Showrunner/Host, Fight Stuff Podcast, Season One, Mindjam Media, 2019 Writer, Throw Back with Nickelodeon, Season One, Nickelodeon-VDS, 2019 Writer, Untitled Slime Machine Show, Pilot, Nickelodeon-VDS, 2019 Showrunner, Minecraft: City -
Canterbury Christ Church University's Repository of Research Outputs Http
Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Alexe, B. (2015) The YouTube creators' community: challenging the rules of traditional media production and broadcast. M.A. thesis, Canterbury Christ Church University. Contact: [email protected] The YouTube creators’ community: Challenging the rules of traditional media production and broadcast Figure 0 by Bogdan Alexe Canterbury Christ Church University Thesis submitted for the degree of MA by Research in Media, Arts and Design (Journalism) 2015 1 Table of Contents Submission Inventory 3 Abstract 4 Introduction 6 Aims of Thesis 7 Methodology 8 A History of Broadcasting (1936-2015) 11 How youtubers challenge the norms of traditional TV broadcasting and production 18 1. Pitch 19 2. Stars/Interviewees 24 3. Quality/Equipment/Budget 26 4. Crew 28 5. Style/Audience Engagement 30 6. Social Media & Communities/Comments & Censorship 34 7. Income 39 8. Managing content/Agents & Networks 44 9. Copyright 46 Conclusion 48 Appendix 1. -
The Spider Or the Fly? New Media, Power, and Competing Discussions of Sexual Violence in the Youtube Community
UNIVERSITY OF CALIFORNIA LOS ANGELES The Spider or the Fly? New Media, Power, and Competing Discussions of Sexual Violence in the YouTube Community A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Anthropology by Dalila Isoke Ozier 2015 ABSTRACT OF THE THESIS The Spider or the Fly? New Media, Power, and Competing Discussions of Sexual Violence in the YouTube Community By Dalila Isoke Ozier Master of Arts in Anthropology University of California, Los Angeles, 2015 Professor Sherry B. Ortner, Chair In recent years, the advent of new media has enabled public figures to amass devoted followings outside of the context of the traditional media industry. Much of the success of these ―new media celebrities‖ relies on the perceived lack of artificiality in the celebrity‘s public presentation of self. Though the relationship between online content-creators and content-consumers is just as hierarchical as the relationship between traditional celebrities and their fans, the illusion of egalitarianism in digital fandom is maintained by the new media celebrity‘s performance of the ordinary, projecting the image that they are ―just like‖ the fans who idolize them and thereby encouraging a heightened sense of intimacy between fan and creator. Unfortunately, the trust fans have in their idols is regularly abused by some new media celebrities, who use their newfound influence to sexually exploit their predominately adolescent female audience. This research specifically focuses on recent reports of sexual abuse committed by content-creators in the YouTube community, examining how the pseudo-transparent construction of a digital celebrity‘s online identity obfuscates the imbalanced celebrity-fan power dynamic and creates an environment that ii facilitates the celebrity‘s abuse of authority. -
The Presence of Broadcasters on Video Sharing Platforms Typology and Qualitative
Ref. Ares(2017)1094601 - 01/03/2017 A publication of the European Audiovisual Observatory A publication of the European Audiovisual Observatory Note 3 The presence of broadcasters on video sharing platforms Typology and qualitative analysis Christian Grece October 2016 Director of publication – Susanne Nikoltchev Executive Director, European Audiovisual Observatory Editorial supervision – Gilles Fontaine Head of DMI, European Audiovisual Observatory Author – Christian Grece, [email protected] Analyst, European Audiovisual Observatory Marketing - Markus Booms, [email protected], European Audiovisual Observatory Press and Public Relations - Alison Hindhaugh, [email protected], European Audiovisual Observatory Publisher European Audiovisual Observatory Observatoire européen de l’audiovisuel Europäische Audiovisuelle Informationsstelle 76, allée de la Robertsau F-67000 STRASBOURG http://www.obs.coe.int Tél. : +33 (0)3 90 21 60 00 Fax: +33 (0)3 90 21 60 19 Cover layout – P O I N T I L L É S, Hoenheim, France Please quote this publication as: Grece C., The presence of broadcasters on video sharing platforms – Typology and qualitative analysis, European Audiovisual Observatory, Strasbourg, 2016 © European Audiovisual Observatory (Council of Europe), Strasbourg, 2016 This report was prepared in the framework of a contract between the European Commission (DG Connect) and the European Audiovisual Observatory The analyses presented in this report are the author’s opinion and cannot in any way be considered as representing the point of view of the European Audiovisual Observatory, its members or of the Council of Europe or the European Commission. Data compiled by external sources are quoted for the purpose of information. The author of this report is not in a position to verify either their means of compilation or their pertinence. -
Written Evidence Submitted by Youtube
Written evidence submitted by YouTube “YouTube has been a great support to GRM Daily as platform [sic], and have [sic] been willing to partner with us and amplify our brand even in these difficult times.” - GRM Daily, entertainment platform and YouTube channel with 3.4 million subscribers1 1. Background Google appreciates the opportunity to submit comments in connection with the Digital, Culture, Media and Sport Committee’s inquiry into the economics of music streaming. This submission focuses on YouTube Music (since Google Play Music will be deprecated by the end of 2020) and describes our unique contributions to the music industry, whilst seeking to address each of the topics specified in the Inquiry. The Internet has enabled British creators, artists, and songwriters to connect, create and distribute new works of art like never before. A key part of preserving this creative economy is ensuring creators and artists have a way to share and make money from their content. YouTube accomplishes this in two ways in partnership with the music industry: with our subscription music service, YouTube Music, and our advertising-supported music platform, which includes content from rightsholders, creators, and artists, as well as original, user- generated content (“UGC”). Services that host UGC , such as YouTube, are stimulating an explosion of new creativity - by making it easier than ever for creators of all types, amateur and professional, new and established, to find their audiences - and generating significant income for rightsholders whose works are used in UGC. We think it is critically important, and recognise our responsibility to ensure, that artists, creators, and rightsholders benefit from their work. -
Full Transcript of the Conversation
Now & Next E01 - Inside YouTube: Beyond Dogs on Skateboards and Viral Video Full interview transcript Leora Kornfeld (LK): I was reading recently about interesting company based in Toronto called Skyship who have the children's programming channel that was build native on YouTube and they have something like 10 billion views. Mark Swierszcz (MS): They are huge. LK: They're massive and apparently if you have friends who have little kids, toddler kids they find their way to those channels and then they play them nonstop and it's the most annoying thing for the parents but it's fantastic for the company because they're built on YouTube so they have a revenue share. That's great for them, that's great for YouTube. I'm interested in learning more about what's on YouTube's roadmap for both technical development but also talent development for companies like that, for producers? MS: That's a huge set of questions. Let me cut them up and look at them in separate ways. For platform development which is what YouTube is, we've always strived that we're a platform, massive, massive global platform. Susan Wojcicki, our CEO, recently I think it was at VidCon or one of the other advertising conferences earlier one of her messages was really, “There's no road map for this. There's a roadmap to scale, there's a road map to scale data, there's a road map to scale delivery of content but once you hit this massive point that YouTube is at, there's no roadmap”. -
Webvideo-Branche in Deutschland
Die Webvideo-Branche in Deutschland Wirtschaftliche Struktur und Entwicklung der Standorte Forschungsprojekt im Auftrag der Staatskanzlei des Landes NRW - Abschlussbericht - Köln/Düsseldorf/Mainz, den 22.05.2019 Die Webvideo-Branche in Deutschland Wirtschaftliche Struktur und Entwicklung der Standorte Inhalt Abbildungsverzeichnis ............................................................................................................. 4 Tabellenverzeichnis ................................................................................................................. 6 0 Executive Summary ........................................................................................................... 7 0.1 Studiendesign ............................................................................................................. 7 0.2 Webvideo-Branche in Deutschland ............................................................................. 7 0.3 Agglomerationsfaktoren für die Ansiedlung von Webvideo-Unternehmen ................. 8 0.4 Vergleich der führenden Webvideo-Standorte in Deutschland ................................... 9 1 Einleitung ......................................................................................................................... 10 2 Theoretischer Hintergrund der Studie .............................................................................. 12 2.1 Forschungsstand zu Webvideo-Creators .................................................................. 12 2.2 Entwicklung von Medienclustern .............................................................................. -
Zefrtop100.Pdf
3 2 Table of Contents 1 Introduction 6 Gaming 2 About 7 Kids & Toys 3 Methodology 8 Spanish Language 4 Category Overview 9 Best All-Around 5 The Digital A-List 3 About The following list is comprised of the top 100 social influencers with the most real-time relevance, based on total 90-day engagements across their YouTube, Facebook, Twitter and Instagram channels and ranked. A straight ranking of 1 to 100 was obscuring much of the talent and trends identified in the process, so this list is comprised of five categories. Each individual category highlights a tremendous area in the Influencer space. 4 The ZEFR 100 *Ranking based on total 90-day engagements across YouTube, Facebook, Twitter and Instagram Digital A-List Gaming Name 90 Day Engagement Name 90 Day Engagement 1. Rhett and Link 164,794,049 1. DanTDM 426,307,659 2. Roman Atwood 161,832,559 2. PopularMMOs 260,707,963 3. Aaron DeBoer 154,463,999 3. WillyRex 191,102,094 4. Rachel Levin 122,472,578 4. jacksepticeye 121,335,386 5. Cameron Dallas 111,651,176 5. Little Kelly Minecraft 112,333,343 6. Huda Heidi Kattan 92,183,149 6. Markiplier 94,239,973 7. The Fine Brothers 90,051,302 7. Aphmau 87,132,458 8. What’s Inside? 88,186,441 Sub-Category: Minecraft 8. Ian Stapleton 77,575,311 9. CrazyRussianHack- 83,958,951 9. Little Carly Minecraft 61,960,319 er 10. LittleLizardGaming - Mi- 56,680,471 10. Superwoman 82,572,733 necraft Mods! 11. Dudeperfect 76,968,170 1.