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What: We talked to Robert Velez, Director, Multicultural Advertising Sales at Vevo, about the company’s strategies to approach multicultural audiences in the US, and particularly Hispanics.
Why it matters: Talking to multicultural audiences is a great opportunity to expand a brand’s reach; however, several tactics should be taken into account when addressing multicultural needs.

The hitherto unparalleled growth of the US multicultural population, together with the proliferation of new media channels offering content to the consumer, has brought never before seen challenges to address the consumer in an effective, differentiated way. We had a chance to sit down with Robert Velez, Director Multicultural Advertising Sales at Vevo, during this year’s #PortadaNY summit, to ask about his impressions on the multicultural opportunity and the state of the issue around it. The transcript has been edited lightly for clarity and length.

Portada: Can you briefly describe your role at Vevo?

Robert Velez: I’m at Vevo to lead the multicultural sales strategy. The company identified this as an area of opportunity and they wanted to start building up the department to make sure that we are addressing marketplace needs and helping clients looking reach multicultural consumers.

Portada: What do you think Vevo contributes to the conversation on Hispanic marketing opportunities? What untapped potential can Vevo deliver on?

RV: Look to Vevo for multicultural audiences at scale with premium content in a brand-safe environment. Vevo offers a solution in reaching US Hispanics —young, Millennial, and bilingual— as well as a broad range of multicultural people. So it’s not just Hispanics, we can also deliver the African American and Asian audience segments on a huge scale.

It’s very hard to get both quality content and scale in the marketplace together. You can usually get one or the other, but not both.

It’s very hard to get both quality content and scale in the marketplace together. You can usually get one or the other, but not both. I dare anyone to challenge us and tell us that there is someone out there doing what Vevo is doing. I think we all kind of get stuck between Univision and Telemundo as being the two top players in the marketplace. And they were, for a long time. But now there are other options out there for brands and consumers. Consumers, especially, are gravitating towards other platforms. So, really what I want to accomplish is to make Vevo into a household name within the multicultural space, where people can think multicultural and think Vevo at the same time.

Portada: Why is there such a disconnect between brands and multicultural marketing today?

RV: Perception is lagging. For example, in the past, the industry tried to merge general market and multicultural marketing and call it the “total market” approach. That really backfired. People thought “I can reach these population segments with just one creative.” And years later we found out that, oops, that actually doesn’t work.

People want to be spoken to. They want brands to take the time and kind of hint at those cultural identities within their creative – we have to reach that consumer and make a connection. It makes sense to have different creative for different segments of the population, because that’s what’s going to make consumers engage more. Overall, general market and multicultural should work together. The Vevo platform does a tremendous job in reaching both in different ways – but they work together. 

Portada: On the other side, how deeply do you go into micro-segmentation; for example, by country of origin, or first generation versus second-generation multicultural consumers?

RV: It makes sense only if it makes sense for the brand to want to do it that way. Say they want to reach a Hispanic consumer, but more specifically someone who originated from Peru. It could be a brand that is established in Peru already and is now trying to come here to the US. They would first try to reach out to Peruvian consumers in the US because they know they recognize their brand from back home. Outside of those edge cases, we’re not really at the point where we have to get that detailed in terms of whom we’re reaching.

And there are going to be segments that we create. Right now, Hispanic is the overarching segment, and within that there is going to be Mexican-origin because they represent a big percent of the population. We might have Caribbean and Latin American as well. But at the end of the day, brands are going to want to reach as many people as possible and cast the widest net.

Portada: Can you give us a sense of how you use data to help different partners serve different sectors? How big is the platform?

RV: We layer in the data that we have as well as work with third-party partners to filter consumers and make sure we are reaching the right audience. Vevo has so much scale…, we reach one-third of the population every month.

Portada: How are you ensuring brand safety?

RV: Vevo implements its own 21-point criteria rating system aside from YouTube’s standards. With a manageable library of 350,000 pieces of content, we leverage both human and AI review systems to rate our content. These criteria map back to TV content ratings, allowing advertisers to transact against the brand safety levels they are most comfortable with.

We regard brand safety at the highest level, because we know how delicate the situation usually is. If we think that a video is not going to fly with a client, we’ll tell them about it. The client will have to opt-in to get that video; we won’t serve the ad just to say that we delivered. 

Portada: What is the relationship between artists and Vevo? 

RV: Music videos are the visual representation of an artist’s music and Vevo is the promotional vehicle for those music videos. Vevo is not only a platform to host and monetize their content, but it fosters the connection between artists and fans. Beyond just YouTube, Vevo uses our original content, social and other distribution platforms to generate awareness and excitement for artists throughout every stage of their career.

People change positions, get promoted or move to other companies. Portada is here to tell you about it.

(Looking for your next Career move? Check out Portada’s Career Board!)

Verizon Communications has named K. Guru Gowrappan as Oath’s CEO replacing Tim Armstrong. Gowrappan  previous role was president and chief operating officer (COO)

 

 

 

 

 

Wunderman has appointed Mel Edwards as its global chief executive. Edwards will be responsible for realising Wunderman’s vision of creating a ‘Creatively Driven. Data Inspired’ message to brands.

 

 

 

 

Sara Larsen has been appointed chief marketing officer by Brightcove. Larsen prior role was vice president, Americas marketing and communications at Dassault Systèmes.

 

 

 

 

 

Uber has hired Rebecca Messina as its global chief marketer. Messina joins from Beam Suntory where she held the same role. Prior to this, she spent 22 years at Coca- Cola.

 

 

 

 

 

Imran Khan is leaving his position as chief strategy officer at Snapchat to “pursue other opportunities”. Khan joined the company in 2015.

 

 

 

 

 

Vinayak Hegde has been hired by Airbnb as lead of ‘global growth marketing and traffic platform’. Hedge joins from Groupon where he was the e-commerce company’s senior vice president and global CMO.

 

 

 

Vevo has named Alan Price as chief executive officer (CEO). Price joined the company nine years ago as chief finance officer.

 

 

 

 

 

Twitter has hired Sarah Personette as its new head of global Twitter Client Solutions. Personette joins from Refinery29 and will oversee all of the global regional TCS leaders, Client Solutions Development and Global Brands.

 

 

 

 

 

MDC Partners announced that Scott Kauffman is stepping down as chairman and CEO. Kauffman previously served as presiding director of the board, beginning in 2006.

 

 

 

 

 

 

Chief marketing officer Seth Farbman will leave Spotify at the end of this month to “pursue other opportunities”. Farbman joined from Gap in 2014.

 

 

 

 

 

 

 The IAB today announced that Michael Texidor has been promoted to Vice President, Learning and Development, and Breda O’Reilly has been named Vice President, Investment and Relations.

Which are the most popular video platforms among U.S.-Hispanics? What type of content do they prefer? What is their order of priorities? We give you the answers to these questions according to comScore‘s December 2016 report.

84% of Hispanic users who consumed video content at the end of 2016 did so through Google sites, which put Google in first place.

Source: comScore Video Metrix, U.S., Hispanic All, Home and Work, December 2016, Video Type: TotalTotal Unique Viewers (000)
Total Internet: Hispanic All31.313
Top 10 Video Properties
1Google Sites26.246
2SpotX Video Advertising Platform16.834
3AOL, Inc.14.347
4BrightRoll Platform13.930
5Facebook9.889
6Tremor Video8.925
7Yahoo Sites8.689
8Teads8.501
9Viant8.489
10VEVO7.183

There is a strong presence of specialized online video advertising platforms on the list: so many, in fact, that they could have their own ranking. In terms of unique visitors, this is how each of them performs:

  • SpotX (54% unique visitors)
  • BrightRoll (44% unique visitors)
  • Tremor Video (29% unique visitors)
  • Teads (27% unique visitors)
  • Viant (27% unique visitors)

Although these aren’t the only platforms within the ranking that provide online advertising services, they are different because they were built to connect media and advertisers (while other platforms focus on the user and his content-consuming experience).

Users’ favourite sites are AOL and Yahoo (during December 2016 they attracted 46% and 28% of all unique visitors, respectively.).

Facebook, which came in at number five, was chosen by 32% of users when watching online video.

Finally, VEVO, the platform for music videos managed by Universal Music and Sony Music, attracted 23% of the unique visitors.

A summary of the most exciting recent news in online video and ad tech in the US, US-Hispanic and Latin American markets. If you’re trying to keep up, consider this your one-stop shop.

US/US HISPANIC MARKET

Sling TV has debuted a new multimedia marketing campaign, “Who’s Bad?!,” featuring award-winning Hollywood actor Danny Trejo. The national campaign spans across television, digital, mobile, social, print and new media platforms, and positions Sling TV as a solution to traditional pay-TV pain points. The campaign, produced in both English and Spanish, targets both general market and Latino audiences.

VEVO started to publish videos of the MTV Video Music Awards early this week, available for streaming on its own website, apps and YouTube, as well as VEVO’s distribution partner sites and services. This is the first time MTV and its parent company Viacom has partnered with VEVO.

WesternUnion.com – #BeFutbol Sweepstakes Virtual Reality Short Film, d expósito & Partners for Tajín and We’re going to Walt Disney World with Jeannette Kaplun are the three finalists of the Top Online Video Category of the #Portada16 Awards to be announced at the Award Ceremony during #Portada16, co-produced with MediaPost,  in New York City on Sept. 14-15.

PORTADA RESEARCH: Hispanic Online Video Ad Market to Soar to US $450 million. In a new report Portada estimates that the Hispanic Online Video Ad market volume will climb to US $450  million by 2020. Particularly high growth is to be expected by branded content videos. Among video ad-tipes, in-stream will continue to have the largest share, although out-stream will grow at a higher rate.

Follow this link for Tubular Insight‘s list of Top Online Video Creators of July 2016, which highlights the most watched video creators across YouTube, Facebook, Vine, and Instagram. UNILAD, The Lad Bible and Tasty rounded out the top three.

Mux, Inc., a performance analytics provider for video developers and media publishers, has secured $2.8 million in seed funding. The funds will further Mux’s mission to use data to improve on-demand and live video performance.

goodcatchEndemol Shine Group has announced the launch of Good Catch, a video game studio through which games will be branded by Endemol’s creative partners and online video personalities.

Virgin Media is launching a new broadband tier, “VIVID 200 Gamer,” an optional upgrade for its VIVID 200 tariff. For around $5 a month, you can see your upload speeds increased from 12 to 20Mbps. This is targeted at gamers, but can be used by anyone who uploads large files to the internet or use demanding services.

Get ready for the 2017 Online Video Marketing Guide to be published on October 25, 2016 with the latest stats/projections and intelligence on the Ad-Driven Online Video market (OTT) throughout the Americas. To align your brand with this important annual reference and thought leadership report, please contact Portada’s Sales and Marketing Director Kelley Eberhardt at kelley@portada-online.com.

Australian streaming service Guvera had to pay its creditors almost $1 million by last Wednesday August 31. Ever since the Australian Securities Exchange rejected the company’s proposal to list its shares, Guvera has been racing to raise capital to pay off debt. If it cannot make the payment, the company will be placed into liquidation.

Flipboard has launched a private premium ad network thanks to its new alliance with Rubicon Project, the operator one of the largest ad networks in the world. The company is now allowing the purchase of its inventory in real time by invitation only, giving advertisers access to Flipboard’s 90 million active users with high participation levels from all demographics.

LATAM MARKET

 DynAdmic announced a deal with Latin Interactive (LIG) to expand their business to Central America, Colombia, and Ecuador with the support of Latin Interactive. “These new offers will allow us to effectively segment video and sync offline TV ads with online video ads”, said Gustavo Ortiz, CEO and co-founder, Latin Interactive.

huffpostThe Huffington Post has launched HuffPost Mexico, the 15th edition outside of the U.S. The news aggregator and blog pointed to the fact that “Mexico’s population is one of the most connected in the world, with 80 percent of its online audience on social media and 75 percent consuming video online.”

The Brazilian Association of Online to Offline (ABO2O) and Spanish company Netquest published a study through which they analysed data from 1.500 mobile apps and found that Brazilians are not loyal to mobile apps brands, and that they are always on the lookout for new and better ones.

An article about local telecom companies Claro and Movistar battling Netflix for the OTT market in Colombia revealed that the country’s National Television Authority has indicated that advertising budgets could reach $11.7 billion in the next decade, thanks to factors like online video.

LatAm-based DMP platform DataXpand and MediaMath launched its new Pokemon audience profile, meant to inform brands about how to reach different segments and audiences through the game. Among other interesting insight, the profile found that it is the most downloaded game in the history of the App Store; that it is the mobile app with the largest profit accumulated in its first month, with a total of $206.5 million; and that it is currently at the top of the list of most used apps in 70 countries.

Join us at PORTADA Mexico!

Just as we saw in the unique user rankings published in mid-November, Google and Facebook are in first and second place, respectively, in the “video” category in Latin America (with the exception of Mexico, where Facebook is third, behind VEVO).

In general terms, as much as these rankings show the transmission of audiovisual content as a common denominator, it is interesting to observe certain particular characteristics:

  1. Some sites only permit a passive participation by the user, in the sense that the user can only consume content from the site without adding his or her own (aside from commenting or sharing). Examples of this are Grupo Clarín, Globo, Grupo Televisa and ABC Digital, whose video content is exclusively controlled by the media editor through a clear communications strategy. This way, on these sites, the user cannot make decisions related to, for example, topics, duration or location (on a particular section of the site) of the videos that he or she consumes.
  2. Other sites do permit active participation from users, allowing the user to operate like a content editor (deciding to upload his or her own content, choosing topics, uninstalling, determining in which section of the site it will be published, etc.). Facebook and YouTube are examples of this.
  3. Regarding distribution, when it comes to websites that allow active participation as well as passive, users have functionalities that allow them to share content with friends and acquaintances.
  4. Another phenomenon that we observed is that in the majority of cases, the sites and platforms on the rankings use technology provided by YouTube or Facebook. in other words, as much as the other sites and platforms may have made the top 10, that content still belongs to YouTube and Facebook. Some of these platforms are Maker Studios, Fullscreen, Machinima Entertainment, QuizGroup, ZEFR and ZOOMIN.TV. Of course, they have particularities that differentiate them from each other and that have allowed them to climb into the rankings. But it is important to highlight the role that distribution has for YouTube and Facebook (which explains why both platforms appear in the first two spots of the rankings).
  5. Finally, with respect to the quality of the material presented on the sites and platforms on the rankings, there are two noteworthy trends: on the one hand, premium content, and on the other hand, content generated by the user. In the context of this article, anything produced professionally with the objective of illustrating, positioning or reinforcing the ideology of the media outlet that has produced it can be called premium content. This type of content appears on the sites mentioned in the first point. In contrast, content generated by the user is anything “homemade” ( including anything that has been produced by a professional, using high-quality resources). In other words, we understand that content generated by the user, even when it is high-quality, loses its ideological power when it is published in an isolated context among many other homemade videos of different quality. This is the case of the sites and platforms that occupy the second spot in the rankings.

We also see that when the first-ranked sites publish audiovisual content generated by the user, the context of the publication configures the premium treatment that is given to the piece, with which, only in this case, the content generated by the users acquires characteristics of premium material, since it illustrates a certain alignment that the media outlet controls according its own discretion.

We can see these concepts reflected in the rankings from the participating countries here:

Source: comScore Video Metrix, United States, Hispanic All, October 2015, PC/Laptop OnlyTotal Unique Viewers (000)
    Total Internet:  Hispanic All25.120
    Top 10 Video Properties
1    Google Sites22.398
2    Facebook11.496
3    VEVO6.811
4    Yahoo Sites6.382
5    Maker Studios Inc.6.148
6    Warner Music5.720
7    Vimeo5.388
8    ABC Digital4.484
9    Microsoft Sites3.941
10    Fullscreen3.859
Source: comScore Video Metrix, Argentina, September 2015, PC/Laptop OnlyTotal Unique Viewers (000)Total Unique Viewers (000)
    Total Internet : Total Audience17.191
    Top 10 Video Properties
1    Google Sites16.379
2    Facebook12.335
3    VEVO10.123
4    Warner Music8.726
5    Maker Studios Inc.8.252
6    Grupo Clarin5.994
7    Machinima Entertainment5.910
8    QuizGroup5.188
9    Fullscreen4.653
10    ZEFR3.756
Source: comScore Video Metrix, Brazil, September 2015, PC/Laptop OnlyTotal Unique Viewers (000)Total Unique Viewers (000)Total Unique Viewers (000)
    Total Internet : Total Audience68.063
    Top 10 Video Properties
1    Google Sites55.937
2    Facebook50.956
3    Maker Studios Inc.23.650
4    Warner Music21.865
5    VEVO21.680
6    Globo18.938
7    ZOOMIN.TV16.349
8    Fullscreen15.519
9    Machinima Entertainment12.803
10    QuizGroup12.611
Source: comScore Video Metrix, Mexico, September 2015, PC/Laptop OnlyTotal Unique Viewers (000)Total Unique Viewers (000)
    Total Internet : Total Audience25.992
    Top 10 Video Properties
1    Google Sites17.216
2    VEVO17.151
3    Facebook17.060
4    Warner Music13.923
5    Maker Studios Inc.11.019
6    Machinima Entertainment8.240
7    QuizGroup7.867
8    ZEFR6.489
9    Fullscreen6.282
10    Grupo Televisa5.288
Source: comScore Video Metrix, Chile, September 2015, PC/Laptop OnlyTotal Unique Viewers (000)
    Total Internet : Total Audience5.970
    Top 10 Video Properties
1    Google Sites3.960
2    Facebook3.959
3    VEVO3.923
4    Warner Music3.530
5    Maker Studios Inc.3.163
6    Machinima Entertainment2.622
7    QuizGroup2.176
8    Fullscreen1.775
9    ZEFR1.578
10    ZOOMIN.TV1.445
Source: comScore Video Metrix, Colombia, September 2015, PC/Laptop OnlyTotal Unique Viewers (000)
    Total Internet : Total Audience14.256
    Top 10 Video Properties
1    Google Sites9.292
2    Facebook9.199
3    VEVO6.619
4    Warner Music5.206
5    Maker Studios Inc.4.666
6    Machinima Entertainment3.285
7    QuizGroup3.076
8    Vidaprimo2.822
9    Fullscreen2.368
10    ZEFR2.115

 

What: IMS,  the digital marketing and communications company, will be Vevo’s advertising representative in Latin America through a partnership that was announced last week.
Why it matters: This is IMS’ first trade agreement  after being acquired by Sony Pictures Television.

VevoVevo, the all-premium music video and entertainment platform with over 11 billion monthly views globally,  has enlisted IMS to help the company expand its advertising opportunities in Latin America and educate advertisers on how best to connect with consumers in Spanish-speaking Latin America, including Mexico, Chile, Argentina, Colombia and Peru.

Latin American advertisers will have the  opportunity to target Vevo viewers through contextual targeting, music genre, and artist targeting, among other segmentation variables. Additionally, Vevo Originals, which follow the careers of emerging artists, offers brand integration opportunities on a local level.

This partnership between IMS and Vevo adds to IMS´s ongoing initiatives to bring new opportunities to the advertising market, facilitating new ways for brands to engage with their audiences. Vevo and IMS look forward to working together with businesses and consumers in Latin America, to help bring valuable messages to the digital consumers.

IMS and ComScore’s Mobile in LatAm Study revealed that two thirds of mobile users in Latin America already know Vevo and over half of Vevo mobile users consider it important in their daily use. Additionally, according to IAB’s “Mobile Video 2015, A Global Perspective,” music videos are the preferred form of video content on mobile in Latin America. The Latin American consumer is increasingly connected and dominates technology representing an excellent opportunity for digital advertising. The digital ad sales outlook for Latin America is poised for double-digit growth over the next five years.

Two thirds of mobile users in Latin America already know Vevo and over half of Vevo mobile users consider it important in their daily use

Music videos are a big part of digital Latin America and Vevo is at the forefront of this,” says Gastón Taratuta, CEO and Founder of IMS. “As the number one music site in the world, Vevo has the exceptional ability to reach and engage Latin Americans in new ways, both locally and globally.”

“Vevo’s viewership in Latin America and Mexico is continuing to grow remarkably year on year, especially in Mexico, which is now Vevo’s second largest market in terms of views – something that is very exciting for us to see,” says Nic Jones, Executive Vice President International, Vevo. “Out of Vevo’s 11 billion monthly views in June, 1.4 billion came from Mexico alone. There’s immense potential for Vevo in Mexico and other Latin American countries, and we’re excited for IMS to help us better communicate with advertisers locally, and across Latin America.”

 

 

What: Google sites, driven primarily by YouTube, ranked  as first online video content property during the month of April with 87 million viewers. Facebook ranked second with 87 million viewers. BrightRoll Platform was the top video ad property with 53.8 percent reach and VEVO topped the list of YouTube partner channels with 35.8 million viewers.
Why it matters:  186.1 million was the number of Americans who watched online videos in April 2014.

like-su-facebookAccording to the latest data from comScore, Inc.  and comScore Video Metrix® ,  186.1 million Americans watched online content videos in April 2014. Facebook  ranked second video content property with 87 million viewers. BrightRoll Platform was the top video ad property, and VEVO topped the list of YouTube partner channels.

Top 10 Video Content Properties by Unique Viewers

• Google Sites, driven primarily by video viewing at YouTube.com, ranked first online video content property with 155.7 million unique viewers
• Facebook ranked #2 with 87 million viewers
• AOL, Inc. followed with 65.3 million
• Yahoo Sites came in 4th with 52.2 million
• NDN 5th with 45 million.

PropertyTotal Unique Viewers(000)
Total Internet: Total Audience186,058
Google sites155,715
Fcaebook87,005
AOL, Inc.65,335
Yahoo Sites52,164
NDN44,973
VEVO37,944
Anyclip Media36,331
Vimeo35,853
Microsoft Sites35,132
Amazon Sites32,559
Top U.S. Online Video Ad* Properties Ranked by Percent Reach of U.S. Population.April 2014.Total U.S. – Home and Work Locations.Ad Videos Only (Content Videos Not Included).Source: comScore Video Metrix

Top 10 Video Ad Properties by Percent Reach of Unique Viewers

• BrightRoll Platform ranked #1 in video ad reach, serving ads to 53.8 percent of the total U.S. population in April.
• Specific Media came in second with 42.9 percent reach
• LiveRail folloed with 42 percent,
• AOL, Inc. came in 4th with 38.3 percent
• Google Sites 5th with 35.2 percent.

PropertyReach Total U.S Population
BrightRoll Platform†53.8
Specific Media42.9
LiveRail†42.0
AOL,Inc.38.3
Google Sites35.2
Tubemogul Video Ad Platform†34.9
Spotxchange Video Advertising Platform†34.4
Tremor Video29.2
Q1Media-AdExcite Video platform†27.9
Videology†17.8
Top U.S. Online Video Ad* Properties Ranked by Percent Reach of U.S. Population.April 2014.Total U.S. – Home and Work Locations.Ad Videos Only (Content Videos Not Included).Source: comScore Video Metrix  

Top 10 YouTube Partner Channels by Unique ViewersThe April 2014

YouTube partner data revealed that:

  • video music channel VEVO maintained the top position in the ranking with 35.8 million viewers
  • Fullscreen held onto the #2 spot with 25.6 million unique viewers
  • followed by ZEFR with 24.5 million
  •  Maker Studios Inc. with 24.4 million
  • Warner Music with 23.6 million.
PropertyTotal Unique Viewers (000)
VEVO@ YouTube35,757
Fullscreen@ YouTube25,577
ZEFR@ YouTube24,534
Maker Studios Inc.@ YouTube24,401
Warner Music@ YouTube23,555
The Orchard@ YouTube17,376
UMG@ YouTube15,269
BroadbandTV@ YouTube13,990
SonyBMG@ YouTube13,067
JukinVideoNetwork@ YouTube13,052
Top YouTube Partner Channels Ranked by Unique Video Viewers.April 2014.Total U.S. – Home and Work Locations.Content Videos Only (Ad Videos Not Included)
Source: comScore Video Metrix

What: Music video platform Vevo is expanding  in Latin America and launching in México, the world’s second largest music video market. This will be the company’s 14th market.
Why it matters: The platform was available in the country but only through a Youtube channel. Now, users are able to watch videos, music programs and live concerts across VEVO at any time .

vevoAs part of its´ Latin America expansion, Vevo, the music video and entertainment platform, has announced that it is launching in its 14th  country, Mexico. The launch completes Vevo’s North American presence and puts Vevo live in the  second largest North American music video market. following the success of the YouTube service. In the last month, Mexican viewers have played Vevo’s content on YouTube over 500 million times. but only through a YouTube music video distribution partnership, which still continues regardless of the launch.

vevoMexican viewers will now be able to watch over 100,000 high-definition, official music videos, original music programs and live concert footage across Vevo including Vevo.com, mobile/tablet apps (iOS, Android, Windows) as well as connecting TV platforms (such as Apple TV, Samsung Smart TVs and Xbox) whenever and wherever they want. They will also have the possibility to tune in to broadcast-style linear music channel Vevo TV.

As a result, Vevo Mexico will join the company’s international office led by international Senior Vice President Nic Jones. Alejandro Hernandez, has been named Content Programming and Label Relations Manager for Vevo Mexico. He will report to Ana Strutt, Vevo’s Head of International Programming.

Along with this launch, Vevo will bring viewers three new video premieres from three well-known Mexican artist: Juan Gabriel premieres a playlist of live concert footage from his performance at Palacio Bellas Artes. The rock band Camila are premiering the video for Decidiste Dejarme , the first single from their third album “Elypse” and Moderato share the video for Voy A Ganar, the official Mexican World Cup song.

“Our viewers in Mexico are already consuming music videos in huge numbers and it’s our aspiration to take their experience of music videos to the next level, with the biggest premieres from the world’s best-loved artists and access to Vevo’s exclusive original shows all expertly curated by our highly skilled programmers. We’re delighted to welcome Mexico to the party!,” Vevo’s SVP International, Nic Jones said.

 

What? According to Comscore, 188.2 million Americans watched 52.4 billion online content videos in December and number of video ad views totaled 35.2 billion.
Why it matters? Google Sites, driven primarily by video viewing at YouTube.com, ranked as the first online video content property in December with 159.1 million unique viewers.

Google

 

Top 10 video content properties by unique viewers

 

  • With 159.1 million unique viewers, Google Sites, driven primarily by video viewing at YouTube.com, ranked as the first online video content property in December.
  • Facebook ranked second with 79.1 million viewers
  • AOL, Inc. followed with 76.2 million
  • Yahoo sites with 53.5 million
  • NDN came in fifth with 49.4 million.

52.4 billion video content views occurred during the month, with:

  • Google Sites generating the highest number at 13.4 billion
  • Followed by Facebook with 3.7 billion
  • AOL, Inc. with 1.4 billion.

In all, Google Sites had the highest average engagement among the top ten properties.

 

Property

Total Unique Viewers (000)

Videos (000)*

Minutes per Viewer

Total Internet : Total Audience

188,249

52,374,583

1,164.5

Google Sites

159,090

13,384,434

356.7

Facebook**

79,105

3,749,940

50.1

AOL, Inc.

76,178

1,414,138

60.4

Yahoo Sites

53,499

392,542

47.8

NDN

49,388

530,275

71.2

Amazon Sites

44,626

215,795

17.1

VEVO

39,424

632,788

51.0

Microsoft Sites

36,662

609,765

36.9

Vimeo

32,932

142,426

32.3

Turner Digital

29,008

221,105

39.0

Top U.S. Online Video Content Properties Ranked by Unique Video Viewers.December 2013
Total U.S. – Home and Work Locations.Content Videos Only (Ad Videos Not Included)
Source: comScore Video Metrix
*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.
**Facebook’s December 2013 online video viewership, particularly the number of video views, is substantially higher than prior months due to both organic and inorganic factors. The largest (and inorganic) source of increase is the recent inclusion, following a technical validation effort, of a significant volume of short (typically 6-second) Vine videos that have been uploaded to Facebook. The other, and currently less significant, factor is the limited roll-out in December of auto-play videos in the Facebook News Feed.

 

Top 10 video ad properties by video ads viewed

Nearly 35.2 billion video ads were viewed in December by Americans:

  • AOL, Inc. sustained the first position with 4.3 billion ad impressions.
  • LiveRail.com came in second with 3.6 billion ads
  • Google Sites followed with 3.6 billion
  • SpotXchange Video Ad Marketplace with 2.9 billion
  • TubeMogul Video Ad Platform came in sixth with 2.5 billion.

Time spent watching video ads totaled 13.2 billion minutes, with:

  • AOL, Inc. delivering the highest duration of video ads at nearly 1.9 billion minutes.
  • Hulu delivered the highest frequency of video ads to its viewers with an average of 82.

Video ads reached 55.6 percent of the total US population an average of 204 times during the month.

 

Property

Video Ads (000)

Total Ad Minutes (MM)

Frequency (Ads per Viewer)

% Reach Total U.S. Population

Total Internet : Total Audience

35,235,361

13,235

204.1

55.6

AOL, Inc. (including Adap.tv)

4,326,305

1,850

26.9

51.9

LiveRail.com†

3,566,607

1,506

23.4

49.2

Google Sites

3,564,204

353

32.3

35.6

SpotXchange Video Ad Marketplace†

2,895,520

975

24.5

38.0

TubeMogul Video Ad Platform†

2,467,934

802

21.3

37.3

BrightRoll Platform**†

2,451,140

1,148

14.8

53.3

Specific Media**

2,185,660

859

13.8

51.2

Hulu

1,388,482

551

82.3

5.4

Tremor Video**

1,209,948

537

11.7

33.3

Videology†

991,078

445

10.5

30.4

Top U.S. Online Video Ad Properties Ranked by Video Ads* Viewed.December 2013
Total U.S. – Home and Work Locations.Ad Videos Only (Content Videos Not Included)
Source: comScore Video Metri*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

According to December 2013 YouTube partner data :

  • Video music channel VEVO sustained the top position in the ranking with 38.5 million viewers
  • Fullscreen held onto the second spot with 27.3 million unique viewers
  • ZEFR followed with 26.6 million
  • Maker Studios Inc. with 24.7 million
  • and Warner Music came in last with 22.7 million.

Maker Studios Inc. proved the highest engagement (72 minutes per viewer), followed by VEVO (51 minutes per viewer). VEVO streamed the greatest number of videos (622 million), followed by Maker Studios Inc. (523 million).

 

Property

Total Unique Viewers (000)

Videos (000)

Minutes per Viewer

VEVO @ YouTube

38,460

622,057

51.1

Fullscreen @ YouTube

27,346

358,267

40.9

ZEFR @ YouTube

26,598

143,042

14.9

Maker Studios Inc. @ YouTube

24,726

522,869

72.2

Warner Music @ YouTube

22,672

151,209

19.1

warnerbros vfp @ YouTube

20,032

61,301

5.3

The Orchard @ YouTube

18,987

78,701

11.8

google @ YouTube

17,965

47,075

4.6

rumblefish @ YouTube

17,396

45,932

7.4

UMG @ YouTube

16,295

66,580

11.0

Other notable findings from December 2013 include:

  • 86.9 percent of the US Internet audience viewed online video.
  • The duration of the average online content video was 4.2 minutes.
  • The average online video ad was 0.4 minutes.
  • Video ads accounted for 40.2 percent of all videos viewed and 5.7 percent of all minutes spent viewing video online.

 

What: There’s an opportunity for online video to drive Hispanic media, as, on average, Hispanics watch more online videos compared to the U.S. consumer. Cisco forecasts that by 2016 two-thirds of mobile traffic will be video viewing, and approximately 70% of advertising spending targeting Hispanics is spent in television.
Why it matters: There’s such high growth potential in online video – they’re the highest CPM in digital advertising – and Facebook seeks between US $1-2.4 million a day for its in-feed video ad feature. For online video to become a revenue driver for Hispanic media, the content should not be recycled and repurposed – rather, the content needs to be creative in its own way.

The strong growth of online video usage and advertising has interesting implications for the Hispanic market. On average, each U.S. Hispanic person watched 1,176.2 minutes (over 19 hours) of online video in March of this year, according to ComScore data. As importantly, Hispanics watch more online videos per viewer than the average U.S. consumer (270 per month vs. 243 for the U.S. consumer). Mobile communications, so pervasive among Hispanics, are also being driven by video consumption. In fact, Cisco forecasts that by 2016 two-thirds of mobile traffic will be video viewing. Online video offers digital extensions of Hispanic radio, print media and pure play digital properties a chance to level the playing field in the traditionally broadcast advertising oriented Hispanic market. Approximately 70% of advertising expenditures targeting Hispanics goes into TV.

Online Video Advertising Offers Non TV Media a Chance in the Broadcast TV Oriented Hispanic Ad Market.

Online Video CPMs (cost per thousand viewers) are the highest in digital advertising, usually three to four times as high as display advertising CPM’s. This explains why Facebook is seeking between US $1 million and US $2.4 million a day for its new in-feed video ad feature. Because of the high growth prospects of online video advertising, a whole new ecosystem of video advertising placement firms, which also provide comprehensive audience data insights and RTB (Real-Time Bidding) and video content producers, has emerged. It includes companies such as Vevo, Hulu, Google’s YouTube, Machinima, Videology, TubeMogul and Adap.tv.

For online video really to become a revenue driver for Hispanic media properties it is crucial that it does not just become a way to repurpose broadcast content. The key is to invest in creative that is native to the digital medium. “As clients are not investing in creative, but just repurposing video, I believe there is a lost opportunity to make better ads, to connect better with the audience and tell better stories as we are not limited to smaller spots,” says Xavier Mantilla, Partner and Client Manager at UM in Miami.

We Need to Invest in This and Not Just Repurpose Videos.

According to Mantilla, while online video may be a media buy, at heart, it is a creative piece. If media agencies got more together with creative agencies, these would be much more successful. He adds that, “when we look at video campaigns that have had higher click-through rates we realize that the creative played a very big role, as well as where it was running, so this fusion of art and science needs to grow. The next big opportunity is to generate localized video advertising to speak to an audience from its natural point of view.” The local nature of newspapers and radio can make them a particularly good fit for a new wave of localized online video ads. But as Mantilla concludes, “We need to invest in this and not just repurpose videos.”

 

Google Inc.’s YouTube on confirmed that it has a renewed its agreement with Vevo,  the music video and content distributor owned by Universal Music Group, Sony Music Entertainment and Abu Dhabi Media Group. The deal underlines both companies’ symbiotic relationship and will mostly fund Vevo’s International Expansion. Vevo is YouTube’s top channel partner.

In addition to retaining VEVO’s videos on YouTube, the deal calls for Google to invest in Vevo’s business. The investment, reported by The Financial Times last week is estimated at between $40 million and $50 million and gives YouTube a roughly 7% stake in Vevo.

“We made an investment in Vevo,” YouTube said in a statement. “We are excited by their future prospects and to provide YouTube users with the best possible music experience.”

International Expansion

Vevo is planning to use the money to expand its international presence and invest in creating original music-related content to augment its growing library of official music videos from Sony and Universal. The YouTube investment will propel VEVO towards its corporate ambition of international expansion. In May, VEVO launched its platform in Poland, bringing the total number of countries it operates in to 12, including the U.S., Australia, Brazil, Canada, France, Ireland, Italy, New Zealand, Spain, the U.K., and the Netherlands.

In May Vevo accounted for 50.2 million unique viewers on YouTube.

Vevo’s contract with YouTube ended in April and has been operating under a temporary extension while the negotiations took place. At issue was the ad revenue split that YouTube would be able to claim for Vevo’s videos. In May, VEVO accounted for 50.2 million unique viewers on YouTube, making it the top channel partner on YouTube, according to comScore’s monthly Media Metrix report. With so many viewers, YouTube could ill afford to lose Vevo. On the other hand, the vast majority of Vevo’s video views come from YouTube users.

 

Google’s YouTube is negotiating a $50 million equity investment in music video service Vevo, according to two people with knowledge of the situation. The deal would bring additional consolidation in the online video advertising market.

Google would own less than 10 percent of the company, giving Vevo a valuation of at least $500 million, said the people, who asked for anonymity because negotiations are still early and an agreement may not be reached.

The investment would be part of a broader contract to keep Vevo’s music videos on YouTube, the people said. Vevo, formed in 2009 by Vivendi SA’s Universal Music and Sony Corp.’s Sony Music Entertainment, and Google last year extended their existing contract until April.

“While we don’t comment on individual negotiations, we always hope to renew our relationships with valuable partners so we can continue to provide YouTube users with the best possible music experience,” Chris Dale, spokesman for Google, said in an e-mailed statement.

Vevo, which shows videos from artists signed to labels owned by Sony Music and Universal Music, drew 51.6 million unique U.S. viewers in December, according to ComScore Inc., the Reston, Virginia-based researcher. By comparison, Google’s websites including YouTube had an audience of about 181.7 million.

Google’s YouTube is negotiating a $50 million equity investment in music video service Vevo, according to two people with knowledge of the situation. The deal would bring additional consolidation in the online video advertising market.

Google would own less than 10 percent of the company, giving Vevo a valuation of at least $500 million, said the people, who asked for anonymity because negotiations are still early and an agreement may not be reached.

The investment would be part of a broader contract to keep Vevo’s music videos on YouTube, the people said. Vevo, formed in 2009 by Vivendi SA’s Universal Music and Sony Corp.’s Sony Music Entertainment, and Google last year extended their existing contract until April.

“While we don’t comment on individual negotiations, we always hope to renew our relationships with valuable partners so we can continue to provide YouTube users with the best possible music experience,” Chris Dale, spokesman for Google, said in an e-mailed statement.

Vevo, which shows videos from artists signed to labels owned by Sony Music and Universal Music, drew 51.6 million unique U.S. viewers in December, according to ComScore Inc., the Reston, Virginia-based researcher. By comparison, Google’s websites including YouTube had an audience of about 181.7 million.