Peek of the Week – The Top 20 Most Shared Online Video Ads For June 2014

World Cup ads predictably dominate this month’s Unruly Global Ads Chart. With the biggest sporting event on the planet in full swing, it’s no surprise to see almost half of the top 20 video ads of the month are football-related. Just like last month, Colombian pop princess Shakira’s collaboration with yoghurt brand Activia “La La La” leads the way. Dubbed the ‘unofficial World Cup theme song’, it attracted a mammoth 2.72 million shares during June, making it not only the most shared football ad of the year, but also the sixth most shared ad of all time.

Brands unaffiliated with this year’s World Cup have certainly dominated this year’s World Cup. Despite creating half as many videos as FIFA-affiliated advertisers, commercials from non-sponsors have so far generated almost three-quarters of the shares. As with previous World Cups, Nike is one of the standout stars, so far attracting more than three times more shares than its fiercest rival adidas, who has been an official World Cup sponsor since 1970.

This month’s chart features two ads from the Oregon-based company. In second spot is “The Last Game”, an ad designed in a style familiar to Pixar films like Toy Story or The Incredibles. It depicts a world in which homogenous clone footballers have taken over the sport, leaving mavericks like Zlatan and Neymar Jr. to take other professions, such as hairdressers. It’s a little like the town that banned dancing in Footloose, only with Wayne Rooney instead of Kevin Bacon.

Seeing hugely famous athletes Disney-fied up is a strange joy, and the short film flies by with wit and imagination. With nearly 900,000 shares last month alone, it won’t be Nike’s last game either. Nike’s epic “Winner Stays” also makes June’s top 20 (18th), while adidas’ “House Match”, featuring David Beckham, is eighth.

In fourth is another ad from a brand not affiliated with the World Cup – Beats By Dre’s “Game Before The Game”. Backed up by a rousing soundtrack from Jamie N Commons & The X Ambassadors, the video features football stars and fans preparing for the match of their lives by going through their various superstitious pre-match rites. Neymar listens to a message from his dad, Cesc Fabregas kisses his ring four times, while Luis Suarez kisses the tattoo on his wrist of his children’s names. It’s an incredible watch, enough to get the pulses racing of even the most ardent football refuseniks.

Other new football-related ads to make it on to the top 20 are Banco de Chile’s compelling “Comercial Mineros” and a commercial from Middle-Eastern telecommunications company Ooredoo which stars Argentinian soccer superstar Lionel Messi. Castrol’s “Footkhana” is still the most shared ad from an official partner.

But World Cup ads did not have it all their own way during June. After scoring a huge social video hit last year with its wickedly funny “The Camp Gyno”, tampon subscription service HelloFlo returned last month with yet another fresh approach to feminine hygiene marketing. Created to promote its period starter kit, “First Moon Party” features a young girl so desperate to join her “blood sisters” at school she paints red nail varnish on a sanitary towel to fake her first period. Her mum quickly rumbles her, but plays along, organising what can only be described as the party from hell to celebrate her daughter’s milestone.

The result is probably the funniest ad about tampons ever made. Intentionally funny, at least. And judging by the ad’s immediate success, I’m not the only one giggling. The video has already surpassed the original, attracting 232,306 shares in just over a week, making it the ninth most shared ad last month. With lines like “Grandpa is bobbing for ovaries like a champ” and “do you know how hard it is to find a uterus pinata?”, the ad’s edgy humour and awkward subject matter will certainly not be to everyone’s tastes. But you certainly have to take your hat off to HelloFlo for coming up with a piece of content that would not look out of place during an episode of hit US TV show Modern Family.

Another feminine care brand also makes it on to this month’s top 20. But unlike HelloFlo’s humorous spot, P&G brand Always uses a more inspirational message to get people sharing its ad, “Like A Girl”. Directed by notable documentary photographer and filmmaker Lauren Greenfield, whose work has cataloged the self-esteem crisis among American females, the video empowers young women to turn an insulting phrase into a positive affirmation.

As one participant observes the end of the film, “why can’t ‘run like a girl’ also mean ‘win the race’?”. It’s a compelling message, which certainly resonated across the social web last month. Attracting more than 219,00 shares in just a few days, “Like A Girl” was the 11th most shared ad during June.

Other new ads to make it into the top 20 this month include a safety ad from Volkswagen that is sure to make you think twice about texting while driving and trailers for the latest chapters of the successful video game franchises FIFA, Assassin’s Creed, Mortal Kombat and Grand Theft Auto.

 

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Corporate videos put employees in the frame

Many people use YouTube and Facebook to achieve “15 minutes of fame” in their personal lives by making videos about their interests and enthusiasms. Now employers are encouraging them to do the same at work.

Reality TV has been a big influence, and everyone wants to be on camera now, says Vern Hanzlik, executive vice-president of Qumu, a video management software company. “Video is becoming a much more mainstream method of internal communications for companies, from the chief executive to junior employees,” he adds.

This was borne out in an international survey of 300 companies in February and March this year by Kaltura, another video management software company. Some 70 per cent of respondents said they regard video as essential for internal communication, knowledge sharing and collaboration.

More than three-quarters agreed that video provides a “nearly in-person” experience, making messages powerful in a way that written communication cannot and helping connect geographically divided employees.

The problem is video’s voracious appetite for bandwidth and storage space. “Video clogs up corporate networks, so you need the infrastructure for intelligent routing and streaming,” says Mr Hanzlik. This is the aim of products such as Qumu and Kaltura.

Bayer piloted Qumu last year when it held a singing contest to celebrate its 150th anniversary. It invited employees to upload videos of their performances to its corporate network, assess each other’s rendering of the specially commissioned song, share their favourites and vote for winners.

The contest was a huge success, attracting 200 entries and 680,000 viewings, says Thomas Helfrich, Bayer’s global head of social media. “It was unbelievable to see how excited contestants were, and the venues and styles they came up with,” he says.

“There were entries from more than 50 countries, including China, Mexico, Machu Picchu and the oldest stadium in Uruguay.” But they comprised 100 terabytes of data and there was no way Bayer’s existing network would have been able to cope.

Qumu handled the task so smoothly that Bayer has since adopted it for all its videos. Philips had similar success with Kaltura last November, when it asked employees to make videos of what the company’s brand meant to them.

The aim was to build staff awareness of Philips’ three businesses – healthcare, consumer/lifestyle and lighting. Again there was an enthusiastic response, says Paul Osgood, Philips’ head of internal communications.

A Philips employee in Brazil filmed himself cycling through São Paulo, contrasting a dingy and deserted neighbourhood, which felt dangerous, with a brightly-lit street where people were partying on the pavement. A female employee in the US made a video demonstrating how different her headphones made her life while jogging.

“People loved watching the videos and they went viral,” Mr Osgood says, but without Kaltura this could have brought down the Philips network. The software also lets Philips integrate the videos with its in-house TV channel, so that they can be viewed on TV screens by people working in factories where they do not have PCs.

Video management software makes the approvals process much more efficient, says Bayer’s Mr Helfrich. Many Bayer videos have to be checked for compliance and intellectual property issues such as copyright, patents and trademarks.

The software also provides better security than ad hoc systems built in-house. This was important at Bayer, where videos need to be stored securely for legal reasons and to ensure data privacy. “We wanted an application we could run in a protected environment with access restricted to employees,” Mr Helfrich says.

Ease of use is crucial for such software to be adopted widely across an organisation. The simplicity of Qumu meant that some 25,000 people had largely taught themselves how to use it by the end of the contest.

“We invested nothing in training beyond making a short online tutorial,” Mr Helfrich says. “It involved far less effort and education than usual when introducing new software.”

The next big step with corporate video, says Mr Osgood, will be giving staff access to it on their mobile phones. In the Kaltura survey, 75 per cent of respondents said that the ability easily to include video in corporate emails, social media and instant messaging would play an important role in the near future.

Employers are becoming much more receptive to the idea of their staff making and sharing videos, says Michal Tsur, Kaltura’s president and co-founder. “Three years ago, managers worried that employees might say the wrong thing, so their focus was on moderating, patrolling and reporting tools,” Mr Tsur says.

“But there has been a change in culture towards empowering employees. Organisations are recognising that communication need not be just top down, but can be bottom up, and that employees may have information that chief executives do not.”

Organisations have also realised that videos can help identify talent, spot charismatic employees and get more information from and about them, Mr Tsur says.

All this may be good for employees wanting to raise their profile at work. But as with other online activities, they would do well to check what they might subsequently be able to remove, should circumstances alter. Otherwise people may find their “fame” lasting longer than they bargained for.

Reeldeahd and nowhouse created OfficeBlink a unique corporate video format.  We successfully produced a series of video insights in these companies that was used for recruitment and social media. Would you like to learn more about how corporate video can help your company then please contact sales@reeldealhd.com

 

YOUR GUIDE TO YOUTUBE AD FORMATS: WHERE TO ADVERTISE, AND WHY

Knowing what you want to achieve is an important first step for any successful YouTube marketing strategy, and it’s no different when it comes to launching an advertising campaign. Whether you want to increase a video’s view count or drive viewers to off YouTube pages, having a clear objective at the outset will help you determine where, and how, to position your ads.

Pairing the right ad placements with your specific objective is the most fundamental way to make sure you’re getting the most value out of your marketing budget. Here’s a brief guide that lays out which ad formats to use for some of the most common KPIs on YouTube.

Objective: Increasing a video’s view count

Currently, there are three different kinds of TrueView ads to consider when looking to increase the view count for a specific video – “In-Stream,” “In-Search” and “In-Display.” (Note: starting later in Q2 of 2014, YouTube is combining the “In-Search” and “In-Display” formats under one name and calling the combination “In-Display”).  All three types are able to increment the view count of a video when run as an ad, assuming the viewer stays around long enough based on the type of placement. Here are the distinctions to know:

1) TrueView In-Stream

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These ads run as skippable pre-rolls before a given video. The view increment occurs when a user watches the ad for at least 30 seconds. If the user hits the “Skip Ad” button, or bounces off the page, no view will be registered. Here is an example of a 30 second Trueview commercial we produced for our client Simply Business;

2) TrueView In-Search

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These ads will appear as promoted suggested videos in the search results page. Once a user clicks on the video link, the view will increment as soon as that video begins.

3) TrueView In-Display

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These ads appear as promoted suggested videos in the related videos column. Like “In-Search,” the view increment is counted after a user has clicked on the video link and the video beings to play.

Bonus Objective: Build an audience on your channel

The TrueView ads can also help build an audience on your channel.  If a user sees your content as a TrueView ad,  they are more likely to visit your channel and watch additional content, garnering you “earned views” as a result of your “paid views.”  Furthermore, if a user really enjoys your content, they will occasionally subscribe to your channel.

Objective: Driving conversions and visits to off YouTube pages

In addition to promoting content on YouTube channels, many publishers are increasing investment in YouTube as a promotional vehicle to introduce audiences to content that lives off of YouTube — setting aside promotional budgets to launch new shows, in much the same way as traditional TV debuts new shows. Here are the ads best used to drive those conversions:

1) Non-Skippable 15 second pre-rolls

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These ads run before a given video with no skip option. They do not increment view counts on a video, but they have proven to be very “clicky” placements that can drive conversions – ticket sales, signups for a service, etc., and visits to an off YouTube domain.  Many advertisers port 30 second TV ads straight to YouTube – just because a video is longer doesn’t mean that it is necessarily better, depending on your objective.  For a direct response / conversion objective, we’ve found that 15 second spots consistently outperform 30 second ones. This is an example our 15 second commercial for Simply Business;

2) 480×70 in video overlays (+300×250 companions)

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These ads are specific to YouTube only and appear on the lower third of a video. They can support a 300×250 companion banner on the right side of the page as well. These ads are relatively inexpensive to run and can be especially effective when used against remarketing lists. As of now, overlays are limited to laptop/PC inventory only.

3) 300×250 display banners

These ads appear on the right side of the watch page, as seen in Ellen screenshot above. Most online marketers will have this unit created already, so they’re fine to use if it’s the only available creative. However, 480x70s are far more effective and can run the 300×250 alongside it for no additional cost. 300×250 banners are also limited to laptop/PC inventory only.

4) GDN Text Links

These ads appear throughout the Google Display Network (GDN) as contextual placements to complement a search. These ads are usually able to run at a low price point but don’t often drive conversions at scale.

Key Takeaway

So, before you charge headfirst into your first marketing campaign on YouTube, consider what your goals are and build your creative accordingly. Deciding where to focus your efforts becomes that much clearer, leading to more valuable results, reeldealhd – bespoke video production can help you with this process, with affordable TrueView commercials and bespoke video production services.

Why not let us help you make your marketing budget go further?  Email Robert Baldwin or call +44 (0) 7922 138 666.

 

Online Content Videos Exceed 50 Billion Monthly Views in December 2013

comScore, via the Video Metrix report, has stated that, for the first time ever, a single month of online video viewing has purportedly topped 50 billion video views. I say purportedly because, as we are all aware by now, it’s not really the truth based on the way that they choose to track video views. Any 3-second viewing of a video is included, multiple views are included for a single piece of content, etc. Here’s their definition once again:

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.

So while it may be 50 billion views by that metric, it’s most probably a lot, lot less in terms of what other people consider a piece of video content, for example, an episode of a television show. A single episode on Hulu is accounting for 3 or more views in the comScore Video Metrix based on the number of ad pods (n) which means (n+1) video views, so please take 50 billion views with a large grain of salt. Five ad pods in a single episode then results in six reported video views.

Facebook Overtake AOL in Battle For Top Online Video Content Property, But Both Still Miles Behind Google

The total increase over November is just over 5 billion views, with a drop in minutes per viewer of just around 13 minutes per along with a drop in total viewers of almost a million. So in a nutshell less people spent less time watching videos online in December than November, yet generated 5 billion more views at least according to comScore.

The real news in the numbers is Facebook who, remarkably, bumped AOL for second place. But there’s a reason for that because comScore notes:

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.

Facebook minutes per viewer also went up from 28 to 50 in a single month, and in addition they added 13 million viewers and nearly tripled the amount of views. So those autoplay videos are counting as views clearly. I suppose that hypothetically, they were in the viewing window of the browser and could, again hypothetically, have been viewed by someone. But that’s a lot of hypotheticals on which to base such important numbers.Still, it’s no more shaky than their 3-second rule for video views I guess. This is all information to take into account when you use these numbers for business or for ad buying.

top us ad video content properties dec 2013

 

Video Ad Networks Explode?

It was just like a year ago when a single video ad network broke the 1 billion ads in a month mark. Now, if you’re not reaching that mark, you don’t make the top ten. Well, OK, there is still one spot in the top ten below that mark which is Videology with 991 million video ads in December 2013. At the top end of the spectrum is AOL with over 4 billion video ads in December. We should start a pool on who hits 5B first and then another for 10B video ads.

The whole video ad industry, at least those tracked by comScore, accounted for 35,235,361,000 video ads, roughly 0.67 video ads per comScore video view. That’s roughly an ad per 1.5 video views. December also saw an average frequency of 204.1 video ads per viewer for 55.6% of the US population. That boils down to a video ad every 5.7 minutes and an average ad length of 0.38 minutes or 23 seconds. Finally, video ads accounted for 40.2% of all videos viewed, which is misleading due to their determination of a video view. It’s probably more like 3:1 ads to video content files views. For example, if every video viewed and tracked by comScore was bisected with an ad pod, the total video file views fall to 26.2 billion, while video ad views remain at 35.2B. Granted, comScore also states that the average online content video is 4.2 minutes. 5.7% of all time viewing videos last month online, was watching ads.

top us video ad properties dec 2013

 

 

Top YouTube Partner Channels: VEVO Still Triumphant

Has anyone ever wondered if there’s a YouTube channel that’s not a YouTube Partner channel but is getting more than 16.3 million uniques per month? Either way, none can top VEVO most likely, what with its 38,460,000 unique viewers a month which is about 20.4% of all video viewers online and roughly 11.4% of the US population. They average 51.1 minutes each. SureMaker Studios has 72.2 minutes each for their 24.7 million uniques, but they’re a full 100 million videos behind per month. Fullscreen put up a good fight as well with 27.3M uniques, and 40.9 minutes average but showed just 358.3M videos. The one stat I would like to see in this chart is total uniques for these channels. Because as far as we can tell there are just 38.46M unique viewers for all of them which is just 20.4% of all Google/YouTube video viewers. Really, it has to be more like 50% given the wide range of topics for the top ten channels.

top youtube channels dec 2013

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Five Trends That Will Define Branded Video In 2014

Branded video reached new heights in 2013. More than 38% of new campaigns achieved more than 1 million views in 2013, compared with 26% in the year prior. And 5% of campaigns reached more than 10 million views, compared to 3% the year before.

In 2012, brands saw campaigns like Red Bull’s “Stratos,” Invisible Children’s “Kony 2012,” and Rovio’s “Angry Birds Space” become mega viral hits. The result of that success was that brands began to see producing quality content – not just ads – as an important weapon in their marketing arsenals.

So in 2013, the name of their game was perfecting the brand story. And in this regard, many brands succeeded this year. Brands were able to drive big views consistently throughout the year.

The biggest campaign of 2013, “Real Beauty Sketches,” came from video veteran Dove. This emotional campaign questions women’s self-image with the help of a trained FBI sketch artist. While the short film met with a warm reception, for the most part, some critics felt that the ad patronized women. But that debate didn’t hurt the brand; the media coverage that ensued only helped to lengthen the life of the video and drive views up to more than 136.2 million views.

Other brands that hit it big included Volvo Trucks, which emerged from obscurity with “Live Test” starring Jean Claude Van Damme. Pepsi MAX pulled off a stunt in “Gordon Test Drive,” and Internet Explorer called on our nostalgia with “Child of the ‘90s.”

So what does 2014 hold for branded video? Based on the successes of 2013, here are five trends that I think will flourish in the coming year:

  • Longer-form, cinematic content: The draw of branded video is the freedom it gives brands to tell their stories outside of the 30-second TV spot. So videos like True MoveH’s “Giving,” were longer and more cinematic.
  • Stoking the debate: Some of the biggest video stories in the 2013 came from brands that incited debate. Cheerios, for example, achieved its biggest success to date with “Just Checking,” which opened a long debate about interracial families and their portrayal in the media late last year. Did they mean to start the debate? Probably not, but it did keep their brand in headlines for weeks.
  • More interactivity: Old Spice produced one of the most viral interactive campaigns with 2010’s “Responses.” It produced another in 2012 with “Muscle Music,” which allowed viewers to create their own music inside of a video. And last year Intel and Toshiba released its third social film, “The Power Inside,” which allowed viewers to shape the campaign’s story through social media. Interactive campaigns like these only work when viewers actually engage with them. As the video universe gets more crowded, brands will be looking for unique ways to attract and engage viewers, and interactivity is a great way to do both.
  • Real-time campaigns: At last year’s Super Bowl, Oreo became the poster child for real-time marketing with its half-time tweet, while Coca Cola’s campaign changed based on the score of the game. Both brands had good feedback from their campaigns, which seemed more relevant because of how timely they were.
  • Encouraging user-generated content: Some of the most successful campaigns of the last year benefited from user-generated content. Volvo Trucks’ “Live Test” generated more than 30 million of its more than 111 million views from user-generated content – spoofs, mashups, copies, responses, etc. Besides showing how engaged viewers are with a brand’s campaign, user-generated content that takes off can extend the life of a campaign.

These trends – and the more cinematic, provocative, imaginative, and engaging campaigns that they produce – will lead to one thing: views skyrocketing higher than ever before. As we have seen every year for the past five years, overall views in 2014 will surpass 2013, as brands continue to break new ground and perfect their video storytelling and strategies. If you are looking for advice in producing effective video marketing campaign’s then please get in touch with our team atbespokevideoproduction.com.

YouTube Ads Rewind 2013 [Peek of the Year]

YouTube has given us their top moments of the year in YouTube Rewind 2013 but they’ve released another video that spotlights the most creative, effective and loved ads of the past year. These are the ads that viewers chose to watch, to share, to tweet about and to engage with. 2013 saw a sea-change in the way advertisers reached out to their audience with entertainment based content resonating in a far more effective way than product pushing. This was reflected in the fact that, for the first time, three brands made it into the top trending videos of the year. Let’s take a look at the global video ads chosen by YouTube – which one was your favorite?

The ads, in order of appearance and in full, are:

Honda – Honda “Hands”:

Oreo – Oreo Separator Machine:

Orangina – Mission 404:

Heineken – Departure Roulette:

Evian – Baby & Me:

Dove – Real Beauty Sketches:

Coca-Cola – Small World Machines – Bringing India & Pakistan Together:

Lifebuoy – Help a Child Reach 5:

Turkish Airlines – Kobe vs. Messi: The Selfie Shootout:

Guerlain – La Legende de Shalimar:

Chipotle – Scarecrow:

NBC Sports – An American Coach in London:

Pepsi – Test Drive:

Kmart – Ship My Pants:

Zoosk – #Heartfriend:

Samsung Televisions – Usher’s “Looking 4 Myself” Presented by Samsung:

LG – Ultra Reality:

PlayStation: Official PlayStation Greatness Awaits Trailer:

YouTube advertising revenue surges 50% to $5.6bn

Advertisers will spend a projected $5.6bn on YouTube in 2013, an increase of more than 50 per cent on the previous year, according to a report that underlines a shift away from traditional television ads. The sharp rise, which follows an explosion of viewing on mobile devices, comes as advertisers strive to reach younger consumers who have drifted away from television. Television’s share of advertising budgets has peaked after 30 years of growth and online video is now competing for ad spending. YouTube does not keep all of the advertising revenue that flows through its site, paying much of it to partners and “content creators”. The report, by media research firm eMarketer, predicts that YouTube’s net revenues will be $1.96bn once those partners have been paid, giving it 1.7 per cent of all global digital advertising spending. This is a larger market share than sites such as Twitter, AOL and Pandora, eMarketer said.

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“Video ad revenues are expected to increase significantly in coming years for YouTube’s US operations, particularly as mobile video viewership grows,” said the report. Television remains the biggest global recipient of ad spending globally: in the US advertisers are expected to spend an estimated $66.5bn in 2013. But eMarketer is projecting only modest increases over the next three years. “There’s ongoing fragmentation in viewing,” said Dan Cryan, senior director of digital media with IHS, a media research firm. “TV viewing is more or less flat but total video viewing is going up and that’s being driven by things like YouTube and Netflix.”

YouTube, acquired by Google in 2006 for $1.65bn, has more than 1bn viewers every month and attracts about a fifth of all advertising spending on US online video. It has faced competition from rival sites such as Hulu, which expects to generate $1bn in advertising revenues in 2013, but it has maintained its lead. Hulu, owned by Walt Disney, 21st century Fox and NBCUniversal, has twice explored a sale only to call off proposed deals at the last minute.

Heightened advertiser interest in YouTube comes as a new generation of online video production studios have sprung up to cater for a younger generation that watches most of its television programming online.

Investors are clamouring to get a foothold in these companies: Maker Studios, one of the biggest online video networks, recently brought in investors to join a shareholder list that includes Time Warner, Elisabeth Murdoch and Robert Downey Jr, the film star.

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