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Hacia La Consolidación Industrial Del Audiovisual Online

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Hacia La Consolidación Industrial Del Audiovisual Online 1 Hacia la consolidación industrial del audiovisual online. Coordinadores José Patricio Pérez Rufí y Antonio Castro Higueras (Universidad de Málaga) Autores Fabián Eduardo Arango Archila, Marta de los Reyes Márquez, Enrique Lara Mérida, Alejandra Perea Martín, Miguel Ángel Manzano Montaño, Virginia Martínez Peinado, Lorena León Carrillo, Ismael Macías García, María López Soriano, Ariadna Cervilla Fernández, Ramón Calvo Verdaguer, Marta González Duque, Atanasio Rubio Gil, Juan Ríos Aranda, Miriam Robles Marín, Antonio David Rodríguez Rodríguez, Gonzalo Romero Doña, Isabel Jiménez Romero, Javier Melero Díaz, Marta Novoa Fajardo, Margarita Ojeda Molero, Marta Ruiz Pérez, Marina Solórzano Herrada, Juan Antonio Valdivia Chacón, Michel VanHoren Matías, Séiani Wints de la Peña, José Cabello Ibáñez, Juan José Calvillo Ocaña, Javier Fernández Frías, Adrián Góngora López, Daniel Castaño González, Miguel Galindo Aguirre, Juan Crossa Vega, Pablo García Robredo, Luis Manuel Yébenes Camacho, José Antonio Torres Barrachina, Samuel Villanueva Hernández, José Miguel Camacho López. Edita Grupo de investigación Eumed.net (SEJ 309), Universidad de Málaga (España) Campus Universitario Teatinos Bulevar Louis Pasteur, 4 MÁLAGA 29071 España JULIO DE 2016 ISBN-13: 978-84-16874-25-5 Nº Registro: Pendiente DESCARGABLE EN EL SITIO WEB: http://www.eumed.net/libros-gratis/ 2 ÍNDICE Prólogo. 5 José Patricio Pérez Rufí Antonio Castro Higueras Tendencias de consumo de vídeo en YouTube España. 10 Marta de los Reyes Márquez Enrique Lara Mérida Alejandra Perea Martín Tendencias de usuarios productores en YouTube España. 36 Marta de los Reyes Márquez Enrique Lara Mérida Alejandra Perea Martín El éxito en YouTube: las Networks. 49 Miguel Ángel Manzano Montaño Virginia Martínez Peinado Lorena León Castillo Ismael Macías García María López Soriano Análisis sobre el funcionamiento de la herramienta ‘Tendencias’ 69 en YouTube. Ariadna Cervilla Fernández Ramón Calvo Verdaguer Marta González Duque Atanasio Rubio Gil Jugando en directo: un estudio sobre los creadores de 87 contenido en Twich y YouTube. Ariadna Cervilla Fernández Ramón Calvo Verdaguer Marta González Duque Atanasio Rubio Gil Televisión y vídeo-streaming en directo: Periscope y otras 100 plataformas live online. Juan Ríos Aranda Miriam Robles Marín Antonio David Rodríguez Rodríguez Gonzalo Romero Doña 3 Vídeo en 360 grados: géneros. 129 Isabel Jiménez Romero Javier Melero Díaz Marta Novoa Fajardo Margarita Ojeda Molero La audiencia social frente a la audiencia tradicional de televisión 150 en España. Marta Ruiz Pérez Marina Solórzano Herrada Juan Antonio Valdivia Chacón Michel VanHoren Matías Séiani Wints de la Peña Nuevos modelos de negocio audiovisual: la irrupción de Netflix. 163 José Cabello Ibáñez Juan José Calvillo Ocaña Javier Fernández Frías Adrián Góngora López El crowdfunding como herramienta de financiación en la 185 producción de webseries. Daniel Castaño González Miguel Galindo Aguirre Juan Crossa Vega Pablo García Robredo Spotify: Innovación y desarrollo en la música en la nube. 197 Fabián Eduardo Arango Archilla Recursos para la creación de una emisora de radio online. 215 Luis Manuel Yébenes Camacho José Antonio Torres Barranchina Samuel Villanueva Hernández José Miguel Camacho López 4 Prólogo José Patricio Pérez Rufí Antonio Castro Higueras Presentamos en esta publicación electrónica los trabajos de investigación realizados por los estudiantes de la asignatura Estructura del mercado audiovisual, dentro del Grado en Comunicación Audiovisual de la Universidad de Málaga durante el curso 2015/2016. Estos textos suponen la iniciación en la investigación de alumnos y alumnas de gran talento que combinan su formación académica e investigadora con su formación como profesionales en el área de la Comunicación Audiovisual. Ofrecemos aquí una selección de aquellos trabajos que destacaron por su buen acabado, su interés, su capacidad analítica y crítica, su actualidad, su pertinencia y su adecuación a una metodología rigurosa de investigación apropiada para unos estudios que toman su base de las Ciencias Sociales. Centrados en torno a diferentes sectores de las industrias del audiovisual online y desde una perspectiva industrial, económica o política, las investigaciones aquí recogidas permiten esbozar un estado de la cuestión acerca de dichas industrias, muy ligado a los últimos movimientos de la industria y las últimas tendencias de consumo de ocio por parte de los ciudadanos. Las industrias audiovisuales, al igual que el resto de las industrias culturales, realizaron una migración completa no sólo al digital, aunando formatos y eliminando barreras entre los medios, sino también hacia la distribución online, favorecida por redes capaces de transferir vídeo de alta calidad de manera instantánea. Desde un punto de vista económico, la incertidumbre que siguió a la digitalización de los medios de comunicación parece estar esfumándose desde el momento en que los usuarios acceden a cumplir con el requisito de compra o abono de contenidos o servicios audiovisuales y se vislumbran modelos de negocio y dinámicas de éxito. La buena acogida de plataformas como Netflix, Yomvi o Spotify o el mantenimiento como medio esencialmente gratuito de YouTube no hacen sostenible, con todo, la mayor parte de las iniciativas de comercialización de 5 contenidos culturales a través de Internet. Las marcas de reconocimiento masivo internacional son pocas, si bien el consumo masivo no elimina la demanda de contenidos especializados, que también tendrán su posibilidad de comercio. Abogamos aquí por describir el momento actual de las industrias audiovisuales online con el término “consolidación”: consolidación de prácticas empresariales, consolidación de estructuras, consolidación de nuevos hábitos de ocio y consolidación del consumo. El presente es online. Marta de los Reyes Márquez, Enrique Lara Mérida y Alejandra Perea Martín hacen un riguroso análisis del consumo de vídeos mayoritario por parte de los usuarios de YouTube en España a partir de la herramienta YouTube Trend Dashboard, clasificando los contenidos en función de su consumo por edades y por género. Su estudio concluye que las preferencias por parte de los usuarios de género masculino pesarán más en el cómputo total de vídeos que son visionados de forma masiva en un escaso margen de tiempo, al tiempo que confirman diferentes preferencias en cuanto a formatos por parte de hombres y mujeres. En su siguiente investigación, De los Reyes, Lara y Perea atenderán a la procedencia de los vídeos de mayor consumo en España, reforzando en sus conclusiones la posición de los youtubers por encima de las industrias culturales y de los usuarios que distribuyen contenidos puntualmente. Miguel Ángel Manzano Montaño, Virginia Martínez Peinado, Lorena León Carrillo, Ismael Macías García y María López Soriano continúan el análisis del vídeo y de los canales de éxito en la plataforma de vídeo online YouTube atendiendo a la pertenencia de los creadores de contenido a redes multicanal o network. Aunque la pertenencia a una network no supondrá un requisito para lograr una visibilidad destacada como youtuber, la colaboración con una sí permite incrementar los beneficios económicos derivados del incremento de visitas y suscriptores. Ariadna Cervilla Fernández, Ramón Calvo Verdaguer, Marta González Duque y Atanasio Rubio Gil investigarán la herramienta “Tendencias” de YouTube al recomendar el visionado de determinados contenidos por encima de otros, con la intención de valorar su objetividad. Las incoherencias en el posicionamiento y la aparición de vídeos dentro de la herramienta pondrán en 6 evidencia, según los autores, un trato privilegiado a los usuarios más activos y seguidos o youtubers. En un segundo texto, Cervilla, Calvo, González y Rubio atenderán a los creadores de contenidos en dos redes de contenidos de vídeo online: YouTube y la plataforma Twich, dedicada de forma específica a la divulgación de contenidos audiovisuales relacionados con el videojuego. Concluirán que no existen grandes diferencias en los perfiles sociales de los creadores de contenidos de ambas redes, si bien pondrán de manifiesto la permanencia de estereotipos de género en el ámbito del videojuego y del vídeo online. Juan Ríos Aranda, Miriam Robles Marín, Antonio David Rodríguez Rodríguez y Gonzalo Romero Doña describirán el uso y las funciones de herramientas de transmisión de vídeo en directo a través de Internet como Periscope, Hangout en directo, YouTube Live, Live Stream, Facebook Mentions o Twitch.tv. Su repaso por estas plataformas les llevará a concluir que estas redes cambiarán las formas de realizar televisión en directo, como forma de retroalimentación de los canales de televisión broadcast para incrementar la fidelización del espectador. Isabel Jiménez Romero, Javier Melero Díaz, Marta Novoa Fajardo y Margarita Ojeda Molero harán del vídeo interactivo en 360 grados su objeto de estudio. Centrando su atención en los vídeos 360 distribuidos a través de la plataforma de vídeo online YouTube, su objetivo será analizar los géneros más destacados en los que se aplica dicha tecnología. Incluso si los géneros de este formato son variados, el estudio concluirá que será en el sector del entretenimiento donde encontrarán una recepción más favorable por parte del usuario de YouTube. Marta Ruiz Pérez, Marina Solórzano Herrada, Juan Antonio Valdivia Chacón, Michel VanHoren Matías y Séiani Wints de la Peña confrontarán la audiencia social a la audiencia tradicional de la televisión en España, partiendo de la
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