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Tradable Bits 06-07 Campaigns Chance the Rapper, Britney Spears, Paul Mccartney 08-12 Behind the Campaign Lissie

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Tradable Bits 06-07 Campaigns Chance the Rapper, Britney Spears, Paul Mccartney 08-12 Behind the Campaign Lissie 05 Tools Tradable Bits 06-07 Campaigns Chance The Rapper, Britney Spears, Paul McCartney 08-12 Behind The Campaign Lissie JUNE 01 2016 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 158 FACE LIFT CAN FACEBOOK THRILL THE VIDEO STAR? COVERFEATURE he relationship between Facebook, the music industry, YouTube and video is Tso convoluted you could make a terrible inter-war farce about it. Facebook, as we have seen, loves video. FACE LIFT In April 2016, the company’s CEO Mark Zuckerberg told the F8 conference, “[I]n a decade, video will look like as big of a shift in the way we all share and communicate as mobile has been.” The company has been wooing MCNs, music labels and other media owners to upload native video to the platform. More recently, it signed a deal with Warner Music to use the major’s tracks on its Slideshows video and photo sharing feature. Key to the platform’s move into video has been the launch of live video streaming platform Facebook Live, which opened up to “civilians” earlier this year after initially being available only to celebrity users, as well as the introduction (in September 2015) of support for 360-degree video on the platform. Facebook video and the back drop of YouTube disputes Facebook also loves music and – generally speaking – the music industry loves Facebook in return, with the social network CAN FACEBOOK THRILL THE VIDEO STAR? a key promotional platform for the business. The music industry, meanwhile, loves video, a long-standing relationship that goes back The music industry is currently attacking YouTube over payment rates and the problems to the days of Bob Dylan’s associated with the widening “value gap”. The timing, then, of Facebook’s push into music ‘Subterranean video could not be better. It is not currently paying any music royalties and allegedly Homesick Blues’ and The Beatles’ downranking videos that are not native uploads; yet more and more acts are working with first promotional the social media site and seeing, for now, its reach as more important than monetisation. clips. Despite Yet all of that looks set to change. If Facebook does start to pay for video streams and this, the music industry is properly supports acts, what will that mean for YouTube’s monopoly? not quite so 2 | sandbox | ISSUE 158 | 01.06.16 COVERFEATURE are hardly the greatest of friends, with the you get,” she said. “They started giving us former apparently downranking YouTube what I like to refer to as ‘mad reach’ […] They videos in its algorithm as it looks to build its gave us two, three, four, up to 10 times the own video service. amount of reach we used to see.” That’s not to say there haven’t been crossovers between music videos and The great video experiment: Facebook. In 2013, Jay Z premiered the video toggling between YouTube, for his track ‘Holy Grail’ on Facebook, with Vevo and Facebook the promo available exclusively on the channel for 24 hours. This April, Biffy Is there a way, then, that the music industry keen (for the moment, at least) on placing Clyro pulled off a neat Facebook double can fully benefit from the promotional reach its music videos on Facebook. And that’s by first announcing the cover art for their that Facebook video offers without sacrificing because Facebook videos don’t pay, with new album, Ellipsis, via Facebook Live, then YouTube video revenue? Most digital labels like Universal maintaining a policy of premiering the video for their new single marketers think so. Jessica Roe, director only uploading video clips to Facebook for ‘Wolves Of Winter’ on the platform. of digital and social consultancy Level precisely this reason. Theory, says that it is important to As for the music industry and YouTube Facebook gently courts Vevo account). Facebook is understood not distinguish between “music videos” – well that’s complicated. It’s the kind of the music business to have paid the band for the video premiere – full-length music clips of the type twisted love/hate relationship probably although it has reportedly paid a number of that appear on music TV or YouTube best illustrated by the fact that Radiohead Perhaps the most ringing endorsement for media outlets, including BuzzFeed and the – and “music-related video”. “On used YouTube to debut the video for ‘Burn using Facebook as a video platform came New York Times, to post to Facebook Live. Facebook music-related videos are different, The Witch’ six months after Thom Yorke from OK Go . In February, that most video- Speaking to Adweek, Ok Go! singer things like how-tos or studio tours or compared YouTube’s relationship with music friendly of bands released their new video, Damin Kulash didn’t exactly clear up the behind-the-scenes,” she says. “Things like to the Nazis stealing art during WWII. And ‘Upside Down & Inside Out’, via Facebook (a reasons for the move, explaining, “The that are probably more appealing content just to top things off, Facebook and YouTube week later it was added to the band’s official stars aligned with Facebook this time and than straight-out music videos.” we were excited to try something new.” Roe says that this distinction is important But it seems likely the band were tempted both for financial reasons and also for by the sheer reach that Facebook’s 1.65bn the distinct audiences that Facebook and monthly active users offers. Kulash shared YouTube attract. “Facebook has the ability to some stats with Adweek, including the fact capture the casual browser,” she says. “Quite that people watch a collective 100m hours often if people are sat on a train, they will of video daily on Facebook and there are scroll through their Facebook or Twitter and more than 8bn video views on Facebook they don’t really know what they’re looking every day. OK Go’s video has been watched for, they are just seeing what is interesting more than 50.5m times on Facebook so far, that comes up on their feeds.” but only 2.6m times on YouTube. As such, she believes Facebook video can Claire Mas, now head of digital for be a key music discovery tool for that casual Communion Music, called organic reach audience – if done well. And this means “Facebook’s superpower” in a music:)ally creating native content rather than shipping conference in 2015. “The most powerful the same video clip to all social media thing they [Facebook] did [around video] was platforms, an approach that has the double play with the algorithm, the organic reach advantage of keeping your “full” music videos COVERFEATURE for YouTube, where they can make money, means videos that don’t rely on sound and reaching out to Facebook audiences. tend to work better.” Katie Ray, head of digital strategy JESSICA ROE’S DO AND DON’TS OF FACEBOOK VIDEO at Method Music says she is currently Taking a bespoke approach Don’t do anything that could be deemed by experimenting with different video formats for each platform Facebook’s automatic systems as being rude or for different platforms. “Vevo is a priority offensive. It can affect your ability to promote video platform for us but we are still looking Native video doesn’t stop with Facebook, your content as an advert. at snippets and full-length native videos though. Video is becoming increasingly Clyro album unveiling, SXSW created a FB [on Facebook] too and at what point in the vital to social media platforms as online Live portal at this year’s event to aggregate Make sure you get across what the video is about in the first three seconds. If you start a video off arty, e.g. campaign they are best used,” she says. consumption shifts to mobile – with Twitter, artists’ Facebook Live video recordings, with leaves blowing on a tree, it might look lovely if you know what “We are particularly finding native videos Instagram and Snapchat all moving into St Lucia, Transviolet and Bibi Bourelly all the point of that video is. But if you’re not capturing someone’s on Facebook really important on our newer an area where Periscope and Vine already taking part. The impact of these live streams attention immediately, they are not going to give it a chance. smaller acts, where we need video content to operate. And that can mean producing a (which remain archived after recording has really gain reach and connect with fanbases.” significant amount of bespoke video content. finished) has been somewhat limited: St Don’t bother doing credits at the end of your video, end titles Roe says that shorter clips tend to “We create a specific clip for each Lucia’s SXSW Live video has been watched or anything like that. I would go straight in and go straight work best on Facebook. “Keeping content platform,” Roe says. “That is a balance upwards of 8,400 times to date, while Biffy’s out. The second you start putting in uninteresting content, short and snappy, no longer than a minute, of what works best technically for that album artwork unveiling has 297,000 views people turn off. is probably the best policy,” she says. platform, for example, resizing and cutting and 2,500 comments. The same is true of “On Facebook, you have less time to get the length for Instagram, those practical Facebook 360 video: Muse’s 360 video clip Have a strategy for your Facebook Video tab. You can arrange someone to commit to watching. They are parts. And also because you have different for ‘If I Get High’, recorded at the O2, has been playlists, you can share videos within playlists, you can move the tab to a higher ranking option on your landing page.
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