What: U.S. Digital Ad revenues surpass US$100 billion mark for the first time, hitting landmark US$107.5 billion in 2018, according to IAB Internet Advertising Revenue Report.
Why it matters: Record-breaking Digital Marketing spend represents 22% year-over-year growth.

U.S. digital advertising revenues in 2018 reached an all-time historic high of US$107.5 billion—exceeding the US$100 billion mark for the first time—according to the latest IAB Internet Advertising Revenue Report released by IAB and prepared by PwC US. This full-year 2018 total represents a 22 percent year-over-year increase from US$88.3 billion in 2017.

Mobile and video continue to lead digital marketing’s steady growth. Accounting for nearly two-thirds (65%) of 2018’s internet ad revenues, mobile reached US$69.9 billion, up 40 percent from the previous year at $50.1 billion. Advertising revenues from digital video saw the largest rise among all formats—an uptick of 37 percent—catapulting to US$16.3 billion in 2018 from US$11.9 billion in 2017.

As audiences have shifted away from traditional media, digital has been a dominant force in capturing their attention—first from desktop to mobile devices and more recently to connected TV, smart speakers, and digital out-of-home.

The report analyzes the drivers behind the dramatic growth, identifying that revenue stemming from eCommerce, including the emergence of the direct brand economy, has played a key role. With the rise of “social stories” as a tool to connect with today’s consumers, social media was also pinpointed as motivating factor in significant investment—with storytelling now catching fire across platforms and brands. In addition, technological advances, ranging from virtual reality to voice to 5G, were recognized as drivers and expected contributors to a continued robust advertising environment.

Other highlights from the report include:

  • Digital video on mobile devices continued its momentum, reaching US$10.2 billion in full-year 2018, a 65% rise from full-year 2017 at US$6.2 billion
  • Digital video ad revenues on mobile devices comprised 63% of all digital video ad revenues in 2018, up from 52% in the prior year.
  • Digital audio advertising grew 23% to reach US$2.3 billion, outpacing last year’s full-year revenue of US$1.8 billion
  • Social media revenue rose to US$29 billion in 2018, an increase of 31% from US$22.1 billion in the previous year

“Surpassing US$100 billion in annual revenue is a watershed moment for the digital advertising ecosystem—one built on its power to build direct relationships between brands and today’s consumers,” said Randall Rothenberg, CEO, IAB. “Innovative platforms like over-the-top television, podcasts, virtual reality, and augmented reality all have the potential to help marketers forge even stronger ties with audiences, as brands navigate the new ‘consumer first’ playing field.”

“Digital marketing has unequivocally secured the lead in media market share, just as it has taken the lead in consumer mindshare,” said Anna Bager, Executive Vice President of Industry Initiatives, IAB. “As audiences have shifted away from traditional media, digital has been a dominant force in capturing their attention—first from desktop to mobile devices and more recently to connected TV, smart speakers, and digital out-of-home.”

“Advertisers are placing a premium on mobile and video, and in turn the two are fueling the ongoing rise of digital marketing,” said Sue Hogan, Senior Vice President, Research and Measurement, IAB. “And the 5G promise of lightning fast speed and decreased latency presents opportunities for businesses and consumers alike: a smoother user experience, which could further consumer ease with use and frequency of ecommerce on small screens; and it would allow for greater innovation in ad formats. As companies prepare for 5G—and its rollout gains momentum—we can anticipate even more healthy digital growth.”

“Year after year, brands have been increasing their commitment to digital as a primary channel to reach consumers,” said David Silverman, Partner, PwC US. “The analysis in this report highlights important drivers and trends that could influence interactive’s trajectory in the years to come, as marketers look to new formats and technologies to help them connect with consumers.”

IAB sponsors the IAB Internet Advertising Revenue Report, which is conducted independently by the New Media Group of PwC. The results are considered a reasonable measurement of interactive advertising revenues because the data is compiled directly from information supplied by companies selling advertising on the internet. The survey includes data concerning online advertising revenues from web sites, commercial online services, free email providers, and all other companies selling online advertising.

What: Facebook has unveiled its latest premium video effort called “Watch,”a new platform for shows on Facebook that will be available on mobile, desktop, laptop and in Facebook’s TV apps.
Why it matters: Video consumption is growing at a very high  rate at the expense of traditional broadcast. Amazon, Google (YouTube) are heavily investing in the video (ad) space.  Facebook’s Watch will offer programming and content from more than 30 media partners and also more original programming funded by Facebook that  will revamp its current video tab.

More and more people enjoy Facebook’s video experience, like discovering videos in News Feed. But now, they also yearn a dedicated place they can go to watch videos. For this reason,  the social net launched last year the Video tab in the U.S., which offered a predictable place to find videos on Facebook. Now the comany wants to make it even easier and has officially introduced “Watch,” its much-anticipated push into TV-like content.The company didn’t specify a date for the launch.

Watch, a new platform for shows on Facebook, will be available on mobile, on desktop and laptop, and in Facebook’s TV apps. Shows are made up of episodes — live or recorded — and follow a theme or storyline. To help users keep up with the shows they follow, Watch has a Watchlist to never miss out on the latest episodes.

Watch is personalized to help users discover new shows, organized around what your friends and communities are watching. For example, it has sections like “Most Talked About,” which highlights shows that spark conversation, “What’s Making People Laugh,” which includes shows where many people have used the “Haha” reaction, and “What Friends Are Watching,” which helps users connect with friends about shows they too are following.

Watch will be home to a wide range of shows, from reality to comedy to live sports and platform for all creators and publishers to find an audience and build a community of passionate fans.The new tab will showcase a slew of shows from the likes of BuzzFeed, Tastemade, Condé Nast Entertainment, and ATTN, according to people familiar with the matter.Facebook is also providing a link for those who want to “register” shows for Watch. Although initially it will be introduced to a “limited group of people” and a “limited group of creators.”

At launch, Facebook aims to have several hundred shows on its platform, including the following slate of shows from major partners: A&E’s “Bae or Bail,” All Def Digital ‘s “Inside the Office,” Brit & Co ‘s “Tiny Houses,” Condé Nast Entertainment’s “Virtually Dating,” David Lopez‘s “My Social Media Life,” Golden State Warriors’ “Championship Rewind,” Hearst ‘s “Daily Refresh,” Univision Deportes ‘ “Liga MX,” McClatchy ‘s ” Titletown TX,” MLB ‘s “MLB Live,” MLS and Univision Deportes‘ “MLS en Univision,” National Geographic ‘s “We’re Wired that Way,” Nas Daily, NBA ‘s “WNBA All-Access,” Tastemade ‘s “Kitchen Little,” Time, Inc. ‘s “Celeb Moms Get Real,” WSL ‘s “WSL Surfing Sundays.”

We hope Watch will be home to a wide range of shows — from reality to comedy to live sports,” CEO Mark Zuckerberg said in a Facebook post. “Some will be made by professional creators, and others from regular people in our community.”

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By Gabriela Gutiérrez M.

What: Gameloft, a leading global publisher of mobile video games, seeks to move up in the market with its offer to integrate ads into its video games.
Why it matters: The company, established in 2000, posted 257 million euros in revenues globally in 2016, according to statistics portal Statista.

Jean Saltarin
Jean Saltarin, Country Manager – Mexico CENAM & Caribbean at Gameloft. (Photo: LinkedIn)

“We propose that the presence of the brand, and the campaign, make sense for the user so that he/she perceives them in a natural way,” said Jean Saltarin, Country Manager – Mexico CENAM & Caribbean at Gameloft.

For example, in a racecar game such as Asphalt, advertisers appear natively in billboard ads. Or in a Real Football soccer match, advertising is displayed around the perimeter of the pitch, just like in the real world. In this way, the video game player will not perceive the intrusion of an advertiser, explained Saltarin.

Gameloft users are not part of the “hardcore” video games sector, he said. “Nearly half of our users are women, and 15% of our audience is over age 35.” This mix has made it possible for Gameloft to attract advertisers in the entertainment industry (such as film studios), as well as car manufacturers, beverage, mobile phones, and technology companies in general.

Nearly half of our users are women, and 15% of our audience is over age 35.

Six out of every 10 dollars spent on digital advertising are targeted at the mobile industry, according to eMarketer. Gameloft, whose specialty is mobile games, is betting on making a “premium” offer to brands, said the executive. “Our vision is one of quality; we do not compete for millions of impressions. We guarantee engagement and viewability. We seek to enrich the offer with data, targeting strategies, development of mini-games, and native integration that will be similar to programmatic, but with a stronger value. We are focused on branding awareness and engagement,” he affirmed.

Six out of every 10 dollars spent on digital advertising are targeted at the mobile industry

In order to guarantee a premium level, Gameloft has refused to use third parties to market its ad space and all advertising is produced in-house: “Instead of charging a fee for advertising, we wanted to make sure of when, where and what [ads] would appear before our users, because a frustrated user never comes back to the developer,” said Saltarin.

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To ensure user satisfaction, Gameloft relies on statistics and algorithms that keep it from offering challenging experiences and lets the user set the level of difficulty, as well as predict user exit and create personalized offers.

The new Gameloft

“What has allowed us to go on is the ability to adapt. The company was launched in 1999, when the Nokia snake game started and the [industry] began to think it would become a massive platform,” recalled Saltarin. “We continue the strategy of trying to capture innovation, but with the flexibility to act very fast.”

What has allowed us to go on is the ability to adapt.

GameloftLast year, Vivendi, Europe’s largest entertainment and media holding company, absorbed Gameloft, which has given the company a new boost and led to its planned entry in eSports ̶ which would make it the first competition of its kind in mobile phones ̶ by 2018 at the latest.

The new Gameloft also raised the offerings for its female audience, with casual games like My Favorite Villain, with almost 100 million downloads; of which 60-70% of users are women.

Over the next few years, Gameloft will focus on the following areas: create fewer games (8-12, instead of developing 15-20); do 15 specialization studies instead of 25; and develop new monetization techniques, according to corporate information.

Feature image: @Gameloft_Latam

Which sports video platforms do US Hispanic users prefer? What types of sports do they prefer? Do they prefer league sites o news media sites? Read on for the answers to these questions, drawn from comScore’s May 2017 ranking.

Although sports sites are making a major effort to generate video content and are increasingly including live broadcasts across their digital platforms, content consumption by U.S. Hispanics still remains low. Only 14.7% of all Hispanic netizens view sports video content. Just in the last month, we saw an almost 1% drop, for a total of 3.9 million users.

Source: comScore Video Metrix , U.S., Hispanic All, Home and Work, PC/Laptop Only, May 2017, 6+Total Unique Viewers (000)
   Total Internet: Hispanic All26,624
1   Fox Sports-SI Group-Perform Media1,265
2   ESPN846
3   Yahoo Sports-NBC Sports Network669
4   MLB558
5   MSN Sports510
6   Marca Sites501
7   SendtoNews445
8   Whistle Sports396
9   CBS Sports376
10   NFL Internet Group298

Although Yahoo Sports ranked 7th on our list of sports sites most visited by Hispanics, it is doing even better in sports video content consumption, coming in 3rd in our ranking of Top 10 sports video platforms.

Spanish language soccer site Marca also makes its debut in our list this month, ranking 6th, with 501,000 unique users. What we don’t know is whether Hispanics are consuming videos in Spanish or English, since the site offers both options. In the overall rankings, Hispanics tend to choose to consume sports content in English.

In addition to the presence of sports news sites, there are two leagues that managed to attract sports video consumers directly to their official sites: the NFL and MLB. Coming in 4th is the MLB, with 558,000 unique users, while the NFL ranked 10th with 298,000 video consumers.

What: According to AdColony’s Spring 2017 App Install Marketing Survey of the top 250 grossing app developers, a full 50 percent of all app install spending now goes to video advertising. Half of that is for full-screen video ads, while the rest goes to in-feed, social, and television video ads.
Why It Matters: We spoke to industry insiders about how the rise of video in app marketing will factor into Hispanic-targeted app marketing campaigns.

App developers are definitely betting on video.

AdColony’s Spring 2017 App Install Marketing Survey spoke to the world’s top 250 grossing app developers and found that 74 percent were shifting their ad campaigns toward video. Full-screen video ads, which display during a break in content on an app, are gaining popularity over social video, with 25.2 percent of marketers allocating budget for full-screen video and 15.7 percent for social video. Channel effectiveness seems to be the primary concern, as 69 percent said that full-screen video is effective, while slightly less, or 67 percent, said social video was effective.

But a chat with industry insiders revealed that video is just one factor impacting the effectiveness of Hispanic-targeted app marketing campaigns.

Key KPIs: App Store Rankings, Loyal User Acquisition, Cost-Per-Downloads

How does the rising popularity of video app marketing factor into efforts to reach Hispanic or Latin American audiences? Sergio Barrientos, Chief Strategy Officer at digital marketing agency M8, commented that when it comes to empowering a campaign, “particularly when it’s not 100% performance-driven, the key is mobile video, including YouTube, Facebook, Instagram and programmatic mobile platforms like S4M.”

Fernando Monedero, Managing Director of IPG Mediagroups, emphasized that video is just one important tool: “Companies with the most successful apps are investing more in getting them into hands of their customers through specific mobile marketing strategies and specialized teams or providers.” Monedero added that the best strategy is to focus on “KPIs that are specific to the apps market, such as app store rankings, organic and loyal user acquisition or cost-per-downloads.”

As an example, Jonatan Zinger, VP, Media Insights at M8, pointed to their “Plan Conectados” initiative for Sprint, which allows Movistar clients in Mexico and El Salvador to access a Sprint plan that connects them with family in the U.S. The U.S. customer “uses the World Top-up App to reload the Movistar customer’s plan,” and users can even use the app to send “top-ups” to family and friends in 23 Latin American countries. Zinger noted that for this campaign, his team at M8 put together a heavily direct response-oriented campaign focused on installs and activations.

Monedero of IPG Mediabrands added that successful organizations “are also promoting their apps through mobile advertising networks and real-time bidding exchanges and showing how their apps simplify users lives and make a unique user experience.” The immersive, sensory experience that video makes possible has given app marketers plenty of tools to work with when it comes to standing out from the competition.

 Successful organizations are promoting their apps through mobile ad networks and RTB exchanges and showing how their apps simplify users lives.

Strike the Right Balance Between Branding and Performance

When it comes to branding versus performance, industry insiders agree that both are important aspects of successful app marketing campaigns. Monedero defended the importance of branding, saying: “People buy from people they trust, and in order to earn trust, branding is as important as performance.” He elaborated, explaining that the more downloads an app gets through media campaigns, the higher its ranking in the app stores, which increases its visibility among potential organic users. 

“Once there is an impactful number of organic users, ad spending can be scaled back to the minimum necessary to maintain these numbers,” Monedero said. At the end of the day, success is about “the right execution and find the balance between ad spend, app store ranking and organic downloads.”

People buy from people they trust, and in order to earn trust, branding is as important as performance.

Sergio Barrientos, Chief Strategy Officer at  M8, added that branding versus performance is always a “balance” that depends “not only on the goals of the client and the campaign but also on the maturity of the app itself.” He gave the example of one of their travel clients, who was completely re-launching their app with significant changes to its functionality. After research and strategy sessions, the team decided that a significant portion of the client’s budget needed to be allocated towards branding efforts. “We need to maintain very precise targeting,” Barrientos said. “But at the same time, we want to showcase the new functionality to our audience in a way that app marketplaces simply do not allow.”

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To push back against restrictions in the app marketplace, the team at M8 built an owned a middle layer to control more persuasive messaging. Fernando Monedero and IPG Mediabrands, on the other hand, are taking a different route: creating their own app marketing unit to “help clients navigate the complexity that comes with ever-changing consumer technologies and behavior” called Ansible.

One thing is clear: as video and other new technologies open up opportunities for more interactive, engaging, and accurate targeting, app marketers will be paying attention.

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What: Fullscreen’s latest research conducted by Leflein Associates  investigated media preferences and trends of Gen Z and millennials and how both generations significantly differ.
Why it matters: Millennials present a higher preference for traditional platforms (including “traditional digital”) than their Gen Z counterparts. Gen Zers are shifting away from text-based online content in particular, in favor of streaming content – especially video.

Fullscreen, an entertainment platform and content creator network, partenered with Leflein Associates to conduct an strategic research to achieve an even deeper understanding of how the youth audiences we engage with on a daily basis feel about themselves, the content they consume, and their relationships with brands.

Leflein Associates  investigated media preferences and trends, passions and values, influencer fandom, consumer journeys, and brand love –– and perhaps most significantly –– where Gen Z and millennials differ in these areas. For brands trying to reach Gen Z, results reveal several critical strategies:

Mind the Generational Gaps

Youth audiences are an important target for many brands, but not all brands recognize that there are actually two very different generations: millennials (18-34) and Gen Z (13-17). Both have very different sets of social media habits and brands should be aware that they cannot target both groups in the same way.

Millennials are relatively old school, with a higher preference for traditional platforms (including “traditional digital”) than their Gen Z counterparts. Gen Zers are shifting away from text-based online content in particular, in favor of streaming content – especially video.

Generation Brand Engagement

When marketers talk about how brands can best reach and engage with “young people”, they usually mean millennials. Or at least they used to. As it turns out, Gen Z is even more receptive to engaging with brands through social channels. In fact, they’re adept at fueling brand conversations by spreading the word throughout their social circles.

Top brand social brand engagement activities include:

Gen Z view digital video and short form clips almost six times as much as they read traditional digital publishers/blogs


Influencers play a significant role in defining what youth audiences like, view, and buy.

Social Media

Gen Z uses Facebook and YouTube for entertainment; Facebook, Snapchat and Instagram for socializing; and Facebook, YouTube, Twitter and Pinterest for utility.Despite its reputation as a social home for older folks, Facebook still dominates for entertainment, socializing and utility for Gen Z.


Gen Z prefers to watch, rather than read. They view digital video and short form clips almost six times as much as they read traditional digital publishers/blogs.

“Gen Z, the first generation born into a post-Google and social media world, is not only the most diverse generation yet, but also the generation with the greatest global perspective,” said Pete Stein, General Manager, Fullscreen. “Their continued inclination towards social content on their mobile phones – first seen in millennials – is changing the way that content is consumed, shared, and even created. Growing up in a completely digital world, they expect to have direct access to friends, celebrities and brands – and they expect all three to interact and share content in a way that’s relevant to their own personal interests and passions.”


What: NFL content broadcast on Twitter will be sponsored.
Why it matters: Because a week after Twitter signed deals with MLB, the PGA Tour, and the WNBA, the social network has announced an alliance with the NFL that has a two-fold aim: to increase the visibility of the competition and create new advertising channels that are attractive to brand marketers.

Twitter has signed an attractive multi-year contract with the NFL for live pre-match coverage and a 30-minute show on the popular microblogging network.

The live show will air on Twitter five days a week during the NFL season, covering news, highlights, and pre-game updates, the company has confirmed.

Since 2013, Twitter had teamed up with the NFL to stream Thursday Night Football, which has had a great impact. Last month, however, Amazon edged out Twitter to secure live streaming rights to the games.

“Twitter is still an important partner in providing access to millions of highly committed fans on digital media,” said NFL Media and Business exec Brian Rolapp about choosing Twitter.

Twitter is still an important partner in providing access to millions of highly committed fans on digital media.

“We are confident that the new daily program, produced by the NFL Network and featuring some of our top analysts, will quickly become one of the most popular programs.”

The results obtained will determine to a great extent whether the NFL achieves its mission of monetizing ̶ through sponsorships ̶ the video content it will broadcast via Twitter.

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Twitter already has a partnership with the NFL to broadcast highlights and analysis. In its efforts to attract new users, live streaming has been one of Twitter’s biggest hits since 2016, as sports fans increasingly turn to the Internet to watch video.

More than 800 hours of live video for over 450 events were broadcast on Twitter in the first quarter of the year.

Anthony Noto, Twitter’s Chief Financial Officer, previously served as CFO of the NFL.

Image: Twitter.com

What: Virool has launched Virool’s Vertical Video Exchange, a fully programmatic ad exchange available to advertisers and publishers worldwide.
Why it matters: Vertical video advertising is the fastest growing ad format in the world and available on every major platform.

5eXzxuRs_400x400Virool, a pioneer in vertical video advertising, announced the launch of Virool’s Vertical Video Exchange, a fully programmatic ad exchange available to advertisers and publishers worldwide. Virool has partnered with Bidswitch to make their vertical video inventory available to over 150 DSPs and agency trading desks.

There’s no surprise that vertical video advertising is the fastest growing ad format in the world. Vertical video advertising is now a staple for any digital video marketer looking to reach millennials in their mobile environment of choice. Vertical video ads are available on every major platform that millennials use like Snapchat, Facebook, Instagram, Spotify, and Twitter. Over the last year, Virool’s Vertical Reveal brought this format to majority of top publishers on the web. Vertical Video Exchange will allow over 150 DSPs to access it and will allow marketers to purchase vertical video ads through their DSP of choice.

Virool’s vertical video ads are sold with 100 percent guaranteed viewability. The ads pause when less than 25 percent of the pixels are in view. “Our partners trust our Vertical Video Exchange because we can guarantee them 100% viewable, high quality vertical video ad inventory at scale,” stated Eric Chen, Head of Publisher Development at Virool.

Virool’s Vertical Video Exchange allows advertisers to target video ads to a large audience beyond standard vertical video environments like Snapchat and Facebook. “We’re providing a greenfield source of inventory in brand safe environments. I am excited that now some of the world largest DSPs will be able to sell vertical video ads on top publisher websites through Virool” said Alex Debelov, CEO at Virool.

Enabling publishers to serve vertical videos whilst maintaining a great consumer experience, will be a key driver in the growth of premium video inventory. As the digital world around us continues to shift to mobile, this launch is just one way we’re helping publishers and advertisers adapt to changing consumer preferences.



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


Research by eMarketer claims that total numbers of U.S. digital video viewers will increase from 221.8 million in 2017 to 239.2 million in 2021 and that the penetration rate among internet users will increase from 81.2% to 83.5%.

Vimeo has added a 360° feature with tutorials for creators, support for 8K files, offline viewing, and bespoke apps for specific mobile headsets.

Google has expanded its image recognition AI tools into the realm of video, announcing that users will be able to search through video content that is automatically assigned tags by an AI system.

According to new research from Ooyala, mobile represented 54% of all online video viewing in Q4 2016 and is tipped to hit nearly 60% in Q1 2017.

According to the NFL, their investment in online video platforms paid off: video-on-demand (VOD) starts grew by 76% over the previous year; mobile was up 235%. The average viewing session was 65.6 minutes, up 43%; and streaming across all devices was up 43%.

Google’s YouTube and Daydream groups are introducing the equi-angular cubemap (EAC), a new projection technique that increases the practical level of detail for 360-degree footage.

Ericsson’s annual ConsumerLab TV and Media Report reveals that a mobile subscription plan that allows affordable streaming of TV and video content on a mobile device – with reasonable video quality and without having to ration data – is of great interest to 40% of consumers globally. Millennials are the most interested group at 46%. 40% of consumers globally are “very interested” in a mobile data plan that includes unrestricted video streaming.

Facebook has signed a broadcasting agreement with Major League Soccer (MLS) and Univision Deportes that will see the social giant live stream at least 22 matches of the upcoming 2017 MLS season, beginning March 18, Mashable reports.

Ooyala has released its Q4 2016 Global Video Index, finding that pre-roll mobile impressions for broadcasters grew to 47 percent, up from 44 percent in Q3. Both smartphone and tablet percentages increased, taking share from computers, which dropped to 39 percent from 44 percent in Q3. For publishers, mobile pre-rolls showed a slight decline, falling from 39.7 percent in Q3 to 38.4 percent in Q4.

Outbrain released its ‘State of Global Content Marketing’ Report, revealing that 52% of all Outbrain pageviews were mobile in 2016.


Discovery platform Taboola announced an exclusive strategic alliance with Televisa, who will integrate Taboola’s high-impact content recommendation platform with the goal of increasing revenue through sponsored content and video as well as driving engagement through on-site personalization.

Facebook has arranged distribution deals for both Mexico’s and Spain’s top soccer divisions, Liga MX and La Liga.

According to Ericsson’s annual ConsumerLab TV and Media Report claims that in Colombia 60% of consumers would be very interested in a mobile subscription plan that allows affordable streaming of TV and video content on a mobile device.

According to the new Irdeto Global Consumer Piracy Survey, almost three-fifths of consumers who watch pirated content in Latin America stated they would watch less or stop watching pirated video content after learning that piracy results in revenue loss from studios, affecting investments in future content creation.

Outbrain’s ‘State of Global Content Marketing’ Report revealed that in Brazil, social and video are particularly popular, and that mobile advertising generates 12.5% of awareness for brands in the country, 8.9% more than the average generated by desktop.

What:AcuityAds will acquire 100% of Visible Measures’ outstanding common stock in exchange for cash in the amount of USD$10 million.  It is expected that this transaction will be completed on or about March 31, 2017.
Why it matters:AcuityAds gains meaningful footprint in the high-growth programmatic video advertising market. Pro-forma TTM Revenue for the combined organization exceeded CDN$75 million (US $56 million).

descarga (3) descarga (5)AcuityAds Holdings Inc. , a technology provider of targeted digital media solutions enabling advertisers to connect intelligently with audiences across mobile, video, social and display, has announced that it has entered into a definitive agreement to acquire Visible Measures Corporation (“Visible Measures”), a Boston-based programmatic platform provider for analytics-led video advertising.

It is expected that the acquisition of Visible Measures will help AcuityAds gain a more meaningful footprint in the high growth video advertising marketplace. Additionally, this transaction will provide AcuityAds with a strong foundation to capture a greater share of the high-potential, programmatic TV market.

According to eMarketer, the digital video advertising segment which topped $10 billion in the U.S. alone in 2016 is expected to approach US$20 billion by 2020 and by 2018, U.S. advertisers are projected to spend US$4.43 billion on programmatic TV ads.

By leveraging Visible Measures’ patented video analytics toolset, alongside AcuityAds’media execution platform, marketers will have access to one single pane of glass to successfully manage all of their digital marketing initiatives.The Visible Measures platform is fueled by a proprietary dataset and patented programmatic technology that combines five trillion data points to reach more than 500 million unique monthly users across 600,000 web and mobile properties.  Utilizing these robust datasets and analytics tools, advertisers can optimize their ad spend based on competitive data collected in real-time, enabling these same advertisers to maximize ROI and boost market-share.  Since 2009, Visible Measures has collected data on over 22,000 video campaigns from 6,000 unique advertisers, and has studied consumer behavior from four trillion video views.  As a result, the Visible Measures True Reachâ (www.truereach.org) offering has become an industry recognized, MRC (Media Rating Council) accredited metric for video advertising campaigns.

The acquisition of Visible Measures is an all-cash transaction valued at USD $10 million.  For the year ending December 31, 2016, unaudited pro-forma trailing twelve months (TTM) revenue for the combined organization exceeded CDN $75 million.

“We are pleased to announce the second acquisition for AcuityAds in the last 6 months, this time, in the fast-growing video advertising segment,” stated Tal Hayek, CEO of AcuityAds.  “The addition of Visible Measures and their industry leading video analytics technology is a great fit and complement to Acuity’s Self-Serve programmatic marketing platform for marketers looking to leverage a ‘one-stop’ shop for all their digital marketing needs. We look forward to welcoming the Visible Measures team and their clients to AcuityAds as we strive to offer marketers the best solutions available to enable them to target and connect more effectively with their audiences across all channels and devices.”

“Since our founding in 2005, our vision has always been to build the leading measurement and analytics platform to enable marketers to maximize the effectiveness of video advertising,” stated Brian Shin, CEO of Visible Measures.  “It has been an amazing journey in building Visible Measures into the company that exists today with a blue-chip customer base and extensive partnerships and I am incredibly proud of the team and our accomplishments. I firmly believe that in joining AcuityAds, advertisers will gain access to the industry’s most comprehensive suite of technology offerings to address their digital marketing needs more successfully.”

What: Simulmedia and LiveRamp™, an Acxiom® company, have closed an strategic partnership enabling marketers to activate their first-party or CRM data on national TV.
Why it matters: TV advertisers who activate with first-party data can gain valuable insights to improve all their advertising and consumers receive more relevant, engaging content from advertisers.

ANA-Portada-bien (1)Simulmedia and LiveRamp™ announced a strategic partnership enabling marketers to activate their first-party or CRM data on national TV. TV advertisers who activate with first-party data can make their media dollars go further and gain valuable insights to improve all their advertising. And as a result, consumers receive more relevant, engaging content from advertisers.

Simulmedia’s Performance TV platform is powered by second-by-second device viewing data from millions of U.S. households. Its campaigns combine data-driven targeting with patented, predictive algorithms to deliver cost-efficient reach at national scale, and provide brands with actionable insights they can use to benchmark performance and optimize future campaigns.

LiveRamp’s IdentityLink™ solution allows marketers to create an omnichannel view of the consumer, resolving first-, second-, and third-party data to a privacy-complaint identifier that can then be activated in the Simulmedia platform as part of people-based marketing initiatives.

“Our partnership with LiveRamp is a major step in making first-party data automatically actionable for TV targeting and measurement,” said Dave Morgan, founder and CEO of Simulmedia. “This partnership empowers marketers to use their granular customer data to create highly targetable segments. We’ve measured a doubling of conversion lift from TV ads when marketers use target audiences created from CRM data.”

“People-based marketing with TV is rapidly transforming, and this partnership helps advertisers target and measure highly tailored audiences at the individual level,” said Travis May, LiveRamp president and general manager. “We’re pleased that an innovative company like Simulmedia can leverage LiveRamp IdentityLink to help advertisers activate their first-party data on TV and measure significant lift.”

Brands interested in activating their first-party data on TV should visit simulmedia.com/liveramp.

Which are the preferred video platforms by U.S. Hispanics? What types of content do they prefer? How do they establish their consumption priorities when it comes to media? The answers to those questions and more, according to comScore‘s August 2016 rankings.

In August 2016, 60% of Hispanic users in the United States consumed video content through Google sites.

MediaTotal Unique Viewers (000)
    Total Internet:  Hispanic All31.313
    Top 100 Video Properties
1    Google Sites21.444
2    Facebook10.632
3    Yahoo Sites9.533
4    VEVO5.783
5    BroadbandTV5.681
6    Warner Music5.477
7    Microsoft Sites5.344
8    Vimeo4.957
9    Comcast NBCUniversal4.339
10    Machinima Entertainment4.195

In second place on the list of preferred audiovisual platforms is Facebook, with 34% of unique users, followed by Yahoo, with 30% of the Hispanic visitors in the United States.

Music via video format is nothing to underestimate: as much as VEVO (Universal Music, Sony Music) and Warner appear in fourth and sixth place, respectively, the sum of unique users that they attracted in the informed month is more than the total number of visitors that watched videos on Facebook.

A similar case to that of music is observed on MCN platforms on this ranking: the sum of BroadbandTV and Machinima‘s users places this category in third place, moving Yahoo to fourth on the list.

Microsoft sites, in seventh place, received 17% of the users, while Vimeo attracted 16%.

When it comes to online television content, the only company that appears is NBCUniversal, with 14% of the users.

What: Twitter announced that will now share ad revenues with creators.
Why it matters: Twitter plans pay creators as much as 70% share of ad revenues, as opposed to Facebook and Youtube’s 50/50 share model.

F03yJLfM_400x400Twitter Inc has announced the expansion of its’ creator revenue programs, which will provide creators of all sizes with the ability to monetize content in multiple ways and generate revenue at scale. This means the scial net will now be sharing ad revenues with creators. By bringing more creators to churn out additional content for its platform, the micro blogging site is trying to boost its user base and improve engagement levels.

The Amplify Publisher Program provides approved creators in the US with the ability to monetize their videos, which is as simple as “checking a box” prior to Tweeting. Pre-roll ads will then run against the content and a portion of the ad revenue is then shared back with creator.

While Facebook and Youtube have a 50/50 share model, Twitter will be paying creators as much as 70% share of ad revenues. Twitter’s terms for individual video creators will be the same as those participating in its Amplify partners program, which Recode reports at 70%.

Twitter’s Niche program,  the creator-first platform, provides creators with the ability to grow, understand, and monetize their social presence across all networks. Niche works with 35,000 creators worldwide alongside top brands to grow and monetize their presence on social networks.

unspecifiedMoreover, creators will now have a number of options to “upload, manage and publish media” more than ever before across both Desktop (via the new Media Studio) and Mobile (via the Twitter Engage app) and at the same time, scheduling tweets.

Media Studio, which replaces video.twitter.com, provides a Desktop destination where users can access all of Twitter publishing tools and resources. Media Studio also added an “Earnings” section to the Twitter Engage Mobile app that the company launched in June.

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Amazon Video has announced the launch of its first Amazon Original series available in Spanish: “All or Nothing: A Season with the Arizona Cardinals” (“Todo o Nada”).

amazonThe series, produced by NFL Films, follows the 2015 Arizona Cardinals from the draft through the NFC Championship game and is the first series to take viewers inside the locker room, on the sidelines, and off the field for an unprecedented look inside an NFL franchise’s complete season. It is dubbed into Spanish, and can be streamed online for free by anyone with an Amazon account until August 31, after which it will be available for free for those with an Amazon Prime account.

Amazon Prime video is currently ad-free, but the company has been experimenting with free TV episodes with built-in ads for its Amazon Video broadcasting of Vogue series (originally created for Hulu) “The Fashion Fund.” This could be an attempt to attract new viewers who do not want to pay the $99 annual fee for Amazon Prime, but don’t want to buy or rent episodes or movies, either. But Amazon still hasn’t done this with its own original content, and tends to offer that format for just a few of the first episodes, at most.

While Amazon has yet to comment on how it decided to feature “All or Nothing” as its first foray into Spanish-language content, July is a “dead spot” in the sports calendar, during which there is no NFL activity. People are also on vacation, giving them time to “binge watch” TV that they enjoy.

And the NFL seems to be increasingly interested in drawing new types of viewers into the league through content like this. Jordan Levin, executive producer on the series and NFL senior VP/chief content officer, told BroadcastingCable.com: “To some degree, there’s a direct relationship between storytelling efforts like this, bringing in newer fans, younger fans, more female fans…They get engaged with the players and teams at a level beyond game play.”

And Hispanic interest in the NFL has increased, as more players and coaches of Hispanic origins are incorporated into the league, like Ron Rivera, head coach of the Carolina Panthers, and players Kiko Alonso and Victor Cruz of the Buffalo Bills and the New York Giants, respectively. And the NFL is paying attention: the league increased its spending on Hispanic media by 60% between 2009 and 2014 alone.

Interpublic Group has handled Amazon’s global marketing account since 2013.


As the recent decision of the RNC to reserve US $150 million worth of video ad inventory shows, video will be a major vehicle to convince voters for the upcoming general election in November. With the above fact in mind a roundtable with major players at DSPs, SSPs, and publishers took place in New York City. Below some intelligence provided by the round table participants.

Political Dollars will go into PMP rather than Programmatic Guaranteed

video.david.jonesMichelle DeVine, Programmatic Sales Manager at Vox Media, provided market intelligence and said that a large advertiser expects to put approximately 90% of political video ad dollars to work at PMPs and only 10% into programmatic guaranteed inventory. Programmatic guaranteed inventory, while still bought in a programmatic way, is mostly agreed upon via a direct sales person.  At PMPs (private marketplaces), ad buyers usually bid in a real-time auction, making the process much more competitive for media properties like Vox Media.

Fundraising Campaigns tend to meet KPIs

Dovid Katz, Senior Director, Demand Facilitation at SpotX noted that so far in the election cycle political fundraising campaigns have tended to meet the Key Performance Indicators of these campaigns (funding goals). As the election date comes closer, viewability and completion rates are going to become more important. Katz added that by September he also expects negative political campaigns to be more popular. He also mentioned that repurposing creative for video advertising will not work:“You have to customize your message for each video ad type.” Udi Jacobi, Chief Commercial Officer at Brightcom asserted that using influencers has worked well in some of the political campaigns.

Google and Facebook are at Least 75% of the Video Market

Facebook-Live-VideoParticipants at the round table, sponsored by Brightcom, noted that in the overall digital market approximately 85% of ad-dollars are sold by Google and Facebook. In the digital video market the figure for the remaining “publishers” is perhaps a bit higher (25%) as LinkedIn and other players have a relatively strong video offering.

Higher Growth of the Video Ad Market Hinges on Resolving Latency Issues

The video ad market is growing in leaps and bounds, this year it is expected to rise to US$ 10 billion in the U.S.,  but long video ad load times (latency)  are an obstacle for an even higher growth rate.  Latency refers to a short period of delay (usually measured in milliseconds) between when a video signal enters and when it emerges from the system.
Participants at the round table agreed that still relatively long loading times for video ads are preventing video ad budgets growing even more. Video ad players need to speed up their response times, they concluded.

Hispanics, Very Important

An important Hispanic turnout at the general election and presidential campaign is going to be very  important for Democratic candidates, although the Republican National Committee (RNC) did say that Hispanics will be an important target in their US$ 150 million overall Video Ad Campaign. Javier Chanfreau, CEO of Medula Networks, stressed that targeting capabilities to reach the Hispanic population are a crucial factor in political online video campaigns.

Video Engagement Generally Much Higher than Display

Paulina Tillman, East Lead, Network Publisher Sales, AOL emphasized that video advertising gets much higher engagement rates compared to display. Tillman noted that for a recent campaign the engagement rate was of 1.84%, much higher than display advertising which typically lies around 0.2%.

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What: The North American SVOD sector is by far the most mature in the world, with 81.81 million SVOD subscribers by end-2015. The number is expected to reach 109.59 million by 2021.
Why it matters: Advertising on OTT sites (AVOD) will become the main OTT revenue source in 2018. Advertising on OTT sites will generate revenues of US$10.98 billion in 2021.

OTT TV and video revenues in Canada and the US will reach US$24.39 billion in 2021; up from US$2.67 billion in 2010 and US$15.39 billion in 2015, according to the North America OTT TV & Video Forecasts report.

The North American SVOD sector is by far the most mature in the world, with 81.81 million SVOD subscribers [for movie and TV services only – excluding sports, for example] by end-2015. The SVOD total is forecast to climb to 109.59 million by 2021.


Simon Murray, report author and Principal Analyst at Digital TV Research, said: “It is important to stress that these figures are gross – some homes take more than one SVOD platform – especially in the US. We do not believe that 86% of US TV households or even 97% of US fixed broadband households will be SVOD subscribers by 2021. From the 101 million US total in 2021, we forecast that 25 million will be secondary SVOD subscriptions. Therefore, the average US SVOD user will pay for 1.33 subscriptions. Putting it another way, there will be 76 million US primary SVOD users by 2021.”

He continued: “We have included half of the Amazon Prime fee as an SVOD subscription to homes that we estimate take Amazon Video (about 70%), even though homes are not directly paying for Amazon Video.”

The North American SVOD sector is by far the most mature in the world

Canadian and US SVOD revenues will soar from US$0.58 billion in 2010 to US$6.26 billion in 2015 and onto US$9.16 billion in 2021.

Online rentals will continue to suffer as SVOD grows. OTT TV and video rental revenues climbed from US$708 million in 2010 to US$2,022 million in 2014. However, revenues will fall from then on – to US$1,744 million in 2021 as SVOD is seen as a more attractive substitute to rentals.

Download-to-own (also known as electronic sell-through or EST) buying will not be as badly affected by SVOD as rentals. DTO revenues are forecast to be US$2,505 million in 2021, up from US$279 million in 2010 and US$1,493 million in 2015.

Advertising on OTT sites (AVOD) will become the main OTT revenue source in 2018 as the SVOD sector matures. Advertising on OTT sites generated revenues of US$5.65 billion in 2015; quintuple the US$1.11 billion in 2010. Rapid growth will continue; reaching a total of US$10.98 billion in 2021.

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Which video platforms do US Hispanics visit the most? Whose traffic increased between 2015 and 2016? How high on the rankings do ad platforms come in? comScore gives us all the answers in its latest report.

Source: comScore Video Metrix, United States, Hispanic All, Home and Work, February 2015- February 2016, Video Type: TotalTotal Unique Viewers (000)
Feb-2015Feb-2016Growth %
    Total Internet:  Hispanic All 24.853 31.15025%
1    Google Sites 21.467 25.31418%
2    AOL, Inc. 16.606 16.6090%
3    SpotX Video Advertising Platform 10.629 11.68410%
4    BrightRoll Platform 19.252 11.530-40%
5    Facebook 12.092 10.404-14%
6    LiveRail 17.766 8.929-50%
7    Specific Media 19.532 8.637-56%
8    Yahoo Sites 5.798 8.63049%
9    VEVO 7.349 8.07710%
10    Teads 1.436 7.284407%

In general terms, the video category saw a 25% increase in the number of unique visitors between February 2015 and the same month in 2016.

Google sites came in first with an 18% increase in users in February 2016 compared to February 2015.

AOL came in second, showing stable growth between 2015 and 2016 (in terms of the numbers of unique users).

Facebook comes in fifth, with a 14% decrease in traffic (year on year).

Yahoo sites took eight place in the ranking, with a 49% increase in unique visitors between February 2015 and February 2016. This contrasts with the decrease in traffic observed on the BrightRoll ad platform (see more below).

VEVO, the Universal Music video platform, took ninth place, with a 10% increase YoY.

Video Ad Platforms

It is interesting to observe how diverse ad platforms make up a large part of the video traffic coming from US Hispanics. Nonetheless, in almost all of the cases there is a trending decrease in the number of unique visitors per month (looking at February 2015 vs. February 2016).

One of the ad platforms with positive growth was SpotX, with a 10% increase in traffic in February 2016, compared to the same month in 2015.

BrightRoll, Yahoo‘s ad property, came in fourth place, even with a 40% YoY decrease in traffic.

In sixth place came LiveRail, a Facebook property, with a 50% decrease in the number of unique visitors in February 2016 (compared to the same month in 2015).

Specific Media, a Viant property, came in seventh place, even with a 56% decrease in traffic.

Even though it came in last in the ranking, the Teads video ad platform saw annual growth of 407%.

In this article we analyze the rankings from Argentina, Brazil, Chile and Colombia. Which video sites and platforms were the most visited? How did things change between 2015 and 2016? What consumption habits were formed? We give you the answers to these questions and more, according to comScore.

In all surveyed countries, an increase in unique visitors was observed in January 2016 compared to January 2015.

Google and Facebook alternate between the two first spots on the rankings in all countries except Chile, where Facebook came in third behind VEVO.

MCNs saw a decrease in unique users.


Source: comScore Video Metrix, Argentina, January 2015 vs January 2016, PC/Laptop Only, TotalTotal Unique Viewers (000)% Change
    Total Internet : Total Audience15.61618.89021
    Top 10 Video Properties
1    Google Sites12.51313.5228
2    Facebook6.55312.89797
3    VEVO9.1639.8588
4    Warner Music6.4117.95524
5    Maker Studios Inc.7.0175.922-16
6    Grupo Clarin3.6585.49650
7    Teads2825.4561.837
8    Machinima Entertainment5.7275.414-5
9    Fullscreen5.0204.170-17
10    ZEFR3.5573.5730
  • In terms of the quantities of unique visitors, Google and Facebook took the first and second spots on the rankings, respectively. In the case of Facebook, it’s interesting to observe the 97% increase in unique visitors between January 2015 and January 2016.
  • Universal Music and Sony Music record labels (which appear as VEVO on the rankings) and Warner occupy the third and fourth spots, respectively. This is interesting, as it indicates a particular interest in visualizing music.
  • When it comes to multi-channel networks (Maker Studios, Machinima, Fullscreen, ZEFR), a tendency towards less unique visitors is observed in January 2016’s results (compared to the same month in 2015).
  • Grupo Clarín (one of the most important newspaper groups in Argentina) showed a 50% increase in visitors compared to January 2015. This is no small detail, as it indicates a certain interest in accessing the latest news in Argentina.
  • Teads, the video ad technology platform, grew by 1.837% between January 2015 and January 2016. This is particularly relevant for media and advertisers that use this technology.


Source: comScore Video Metrix, Brazil, January 2015 vs January 2016, PC/Laptop Only, TotalTotal Unique Viewers (000)% Change
    Total Internet : Total Audience65.39781.39624
    Top 10 Video Properties
1    Facebook48.94552.5617
2    Google Sites57.71447.930-17
3    VEVO19.70522.56615
4    Warner Music16.92820.91924
5    Teads2.27618.418709
6    Globo15.50116.8168
7    Fullscreen17.92215.927-11
8    Samba Ads2.90415.634438
9    Webedia Sites1.90714.908682
10    Maker Studios Inc.21.46714.541-32
  • Facebook and Google occupy the first and second spots on the ranking, respectively. In the case of Google, a 17% decrease in traffic occured between January 2015 and 2016.
  • Like in Argentina, in Brazil, Universal Music and Sony Music (VEVO) and Warner occupied the third and fourth spots, respectively.
  • In fourth place appears Teads, with a growth of 709%. This is particularly relevant for advertisers and media that use this platform.
  • With respect to multi-channel networks, in Brazil, the same is true as it was in Argentina: Fullscreen and Maker Studios saw a decrease in traffic in 2016.


Source: comScore Video Metrix, Chile, January 2015 vs January 2016, PC/Laptop Only, TotalTotal Unique Viewers (000)% Change
    Total Internet : Total Audience5.4367.32535
    Top 10 Video Properties
1    Google Sites4.0414.017-1
2    VEVO3.7953.8622
3    Facebook3.4283.83712
4    Warner Music2.7253.34523
5    Machinima Entertainment2.4022.5024
6    Maker Studios Inc.2.9032.435-16
7    Fullscreen1.8081.697-6
8    Teads791.6822.017
9    ZEFR1.6021.585-1
10    ZOOMIN.TV1.4751.286-13
  • Google and VEVO occupied the first and second spots on the ranking, respectively. It is interesting to observe how Facebook was brought down to third place (as it usually comes in first or second on the LatAm rankings).
  • Like in Argentina and Brazilmulti-channel networks showed light growth (as is the case of Machinima) or a decrease in traffic (Maker StudiosFullscreenZEFR, and ZOOMIN.TV).
  • With respect to Teads, and in line with what happened in Argentina and Brazil, there was notable growth (in this case, 2,017%).


Source: comScore Video Metrix, Colombia, January 2015 vs January 2016, PC/Laptop Only, TotalTotal Unique Viewers (000)% Change
    Total Internet : Total Audience12.74116.06926
    Top 10 Video Properties
1    Google Sites8.5637.087-17
2    Facebook6.7797.0594
3    VEVO5.4965.6343
4    Warner Music3.4814.10618
5    Maker Studios Inc.3.5943.088-14
6    Machinima Entertainment2.5622.6915
7    Vimeo1.8692.54636
8    ZEFR1.8531.9153
9    Fullscreen2.2801.871-18
10    Teads3821.822377
  • Google and Facebook occupy the first and second spots in the rankings. In the case of Google, there was a 17% decrease in traffic between January 2016 and January 2015.
  • As in Argentina and Brazil, VEVO and Warner occupied the third and fourth spots, respectively.
  • In line with the trends in other countries, multi-channel networks (Maker StudiosMachinimaZEFRFullscreen) showed either light growth or significant decreases in unique visitors.
  • With respect to Teads, the same positive trend is observed here as in other countries, with a 377% growth.

What sites and platforms are most-visited in Latin America? What kind of content do they prefer? What are the particularities of each country? In this article you’ll find the answers to those questions (according to comScore‘s monthly report).

Translated by Gretchen Gardner

There are three primary topics of interest among Latin American Internet users on the 10 most-visited sites and platforms: music, news and multi-channel networks (MCNs). 

Google and Facebook continue to hold the first two spots (respectively) of the ranking of each of the countries, except in the case of Chile, in which Facebook holds the third spot after VEVO.

Finally, there are a few different B2B advertising services on these lists, receiving a large share of the monthly visits in each country.

Favorite Music Sites and Platforms

VEVO (helped by their Sony Music, Universal Music and EMI catalogues) and Warner Music are on the lists of each of the surveyed countries. It’s interesting to observe how users choose to listen to music that they can visualize (unlike streaming applications that offer sound, but not image).

Another point to highlight is that through these two platforms, the users can access the same catalogue on all of the most popular legal streaming applications (with perhaps less access to the full amount or range of artists, although they can access the same content provided by record labels).

In the case of Colombia, we see the presence of VidaPrimo, dedicated exclusively to Latin music videos.

YouTubers and MCNs

Maker Studios, FullScreen and Machina are the multi-channel networks chosen by LatAm users.  In the case of ChileQuizGroup appears on the list as an alternative.

News in Video

Argentina and Brasil are the only countries in the report in which there is an interest in video consumption through the primary online news portals (Clarin in Argentina and Globo in the case of Brazil). With respect to the rest of the countries, the video content from digital news portals is not of primary interest.

Source: comScore Video Metrix, Argentina, December 2015, PC/Laptop Only, TotalTotal Unique Viewers (000)
Total Internet : Total Audience17.168
Top 10 Video Properties
1Google Sites15.741
4Warner Music8.654
5Maker Studios Inc.6.344
6Grupo Clarin5.960
7Machinima Entertainment5.724
8Teads Sites5.382
10Netsonic Streaming3.679


Source: comScore Video Metrix, Brazil, December 2015, PC/Laptop Only, TotalTotal Unique Viewers (000)
Total Internet : Total Audience72.163
Top 10 Video Properties
1Google Sites52.429
4Warner Music21.939
5Teads Sites19.163
6Webedia Sites16.478
10Maker Studios Inc.14.669


Source: comScore Video Metrix, Chile, December 2015, PC/Laptop Only, TotalTotal Unique Viewers (000)
Total Internet : Total Audience6.034
Top 10 Video Properties
1Google Sites4.272
4Warner Music3.700
5Machinima Entertainment2.841
6Maker Studios Inc.2.766
9Teads Sites1.643


Source: comScore Video Metrix, Colombia, December 2015, PC/Laptop Only, TotalTotal Unique Viewers (000)
Total Internet : Total Audience13.347
Top 10 Video Properties
1Google Sites7.773
4Warner Music4.583
6Maker Studios Inc.3.442
7Machinima Entertainment2.934

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


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