VibeVO – Advertisers and creators in one ecosystem

Author: Vadim Sterlin

  • Case study: Higgsfield — Showcase Capabilities Through Existing Works

    Case study: Higgsfield — Showcase Capabilities Through Existing Works

    Campaign Figures

    Metric Value Explanation
    Views 3,120,901 accumulated campaign counter.
    Declared Fund $20,000 rewards budget.
    Approved Works 87 separate content counter.
    Authors 31 by published counter.
    CPM by Terms $2.00 rate per 1,000 counted views.
    CPV by Rate $0.00200 equivalent per 1 counted view.

    Data cut-off 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with admission conditions and limits, not the actual cost of the entire campaign. The fund is not equal to expenses. Views are a total counter, not unique reach; approved works are counted separately. CPM is taken from the rewards table; a brief brief indicates a different rate — $1.00. Views are not equal to unique reach or sales. Conclusions about marketing mechanics — editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    “How did they do that?” — a fitting first reaction for an AI video creation service. In the Higgsfield campaign, authors were provided with a bank of ready-made user videos, which was regularly updated. The task was to reformat them and redistribute them through thematic pages about AI. Here, a clipping-like mechanic was used: take an existing work, change its presentation and find a new audience for it.

    Alongside classic video clipping, repackaging existing author videos works here: a new emphasis or highlight montage helps to re-present an existing work. For a creative tool, the result often speaks about possibilities more clearly than a list of functions. The viewer first sees an interesting video, then may want to know how it was made. Regular replenishment of the material bank gives the campaign new stories. It is important that when the design changes, the connection between the expressive result and the product that made it possible is maintained.

    Higgsfield — Showcase Capabilities Through Existing Works — illustration 2

    Does your service have works you want to show to new people? Launch a campaign around approved videos on VibeVO and offer authors to find a fresh presentation for them.

  • Case study: My Singing Monsters — a recognizable world in small portions

    Case study: My Singing Monsters — a recognizable world in small portions

    Campaign Metrics

    Metric Value Explanation
    Views 5 057 754 accumulated campaign counter.
    Claimed Fund $7 500 rewards budget.
    Approved Works 120 separate content counter.
    Creators 22 by published counter.
    CPM by Terms $0.75 rate per 1,000 counted views.
    CPV by Rate $0.00075 equivalent per 1 counted view.

    Data cut-off 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with eligibility conditions and limits, not the actual cost of the entire campaign. Fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    Campaigns around a game don’t always require a lengthy product explanation. For My Singing Monsters, creators were offered to make short clips from in-game content, and the reward was tied to views. This gives the editor a clear working principle: choose a fragment that can be interesting on its own, and present it to someone not yet ready to explore the entire game.

    Video clipping distributes the search for a successful first impression among creators. Highlight editing gives everyone the opportunity to choose their own moment and their own pace of presentation within one game. For the viewer, a short scene becomes a small introduction that doesn’t require prior knowledge of the rules and features of the world. A useful lesson for a marketer is to prepare material so that the creator can find a standalone episode in it. Then different videos offer different reasons to be interested in the product, while maintaining a common connection to what is happening in the game.

    My Singing Monsters — a recognizable world in small portions — illustration 2

    Give creators the opportunity to find what’s interesting in your game to their taste. On VibeVO, you can launch a video clipping campaign from existing game content.

  • Case study: Persona 4 Revival — short videos between two events

    Case study: Persona 4 Revival — short videos between two events

    Campaign figures

    Metric Value Explanation
    Views 2,008,353 accumulated campaign counter.
    Declared fund $24,000 rewards budget.
    Approved works 80 separate content counter.
    Authors 57 according to the published counter.
    CPM by terms $1.05–$3.00 rate per 1,000 counted views.
    CPV by rate $0.00105–$0.00300 equivalent per 1 counted view.

    Data cut 09/03/2026. CPV = CPM ÷ 1,000. This is a reward rate with eligibility conditions and limits, not the actual cost of the entire campaign. The fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. The range reflects different distribution conditions. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    The Persona 4 Revival campaign for the North American audience was built around a story trailer and the upcoming Microsoft broadcast. Authors were invited to release short content that supports anticipation and interest in the game. Thus, clipping found its place between two information occasions: there is already material for discussion, and ahead is an event to which attention can be directed.

    Video clipping can connect two information occasions: analyze already published material and support anticipation for the next event. The task of turning a long video into cuts here acquires a clear meaning — to give the audience separate topics for attention between major announcements. Different authors choose different scenes, so reminders do not have to repeat the same video. For a marketer, the general guideline is important: each short story should relate to the current stage of promotion and maintain a connection with what is yet to be seen.

    Persona 4 Revival — short videos between two events — illustration 2

    Is there also time for individual stories between your announcements? Launch a campaign on VibeVO and use a ready-made trailer as material for short publications for the next event.

  • Case study: Metaphor: ReFantazio — Multiple Entries into One Game World

    Case study: Metaphor: ReFantazio — Multiple Entries into One Game World

    Campaign Figures

    Metric Value Explanation
    Views 467,892 accumulated campaign counter.
    Declared Fund $24,000 rewards budget.
    Approved Works 0 separate content counter.
    Authors 0 according to published counter.
    CPM by Terms $1.75–$2.00 rate per 1,000 counted views.
    CPV by Rate $0.00175–$0.00200 equivalent per 1 counted view.

    Data snapshot 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with admission conditions and limits, not the actual cost of the entire campaign. Fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. The range reflects different distribution conditions. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    A new game world cannot be fully explained in a short video, but it can spark a desire to learn more. In the Metaphor: ReFantazio campaign, official trailers served as the source. Authors were offered to cut fragments from them and publish short versions; the task itself was related to pre-orders and themes of battles and adventure. This set a general direction while preserving space for choosing individual scenes.

    Cutting long videos into short ones gives a complex game world several first impressions. Video clipping allows one video to focus on action, another on atmosphere, while maintaining a common source in official materials. The viewer gets a small, understandable scene and can decide if they are interested in learning more. For promoting a rich product, this is a useful principle: the first acquaintance does not have to contain everything. Selecting a fragment becomes a way to choose one reason to take a closer look at the game and give that reason enough space in the frame.

    Metaphor: ReFantazio — several entries into one game world — illustration 2

    Does your project have many stories and visual details? Launch a video clipping campaign on VibeVO so that authors can find different first scenes to introduce this world.

  • Case study: SEGA / Crazy Taxi — Extend the Moment of a Big Announcement

    Case study: SEGA / Crazy Taxi — Extend the Moment of a Big Announcement

    Campaign Figures

    Metric Value Explanation
    Views 1 586 244 accumulated campaign counter.
    Declared Fund $8 400 rewards budget.
    Approved Works 64 separate content counter.
    Creators 41 according to the published counter.
    CPM by Terms $1.50–$2.10 rate per 1,000 counted views.
    CPV by Rate $0.00150–$0.00210 equivalent per 1 counted view.

    Data snapshot 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with admission conditions and limits, not the actual cost of the entire campaign. The fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. The range reflects different distribution conditions. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    During a major game presentation, viewers receive a lot of news in a row. The Crazy Taxi: World Tour campaign aimed to bring attention back to one of the announcements: editors were tasked with highlighting moments from the multiplayer trailer shown at Gamescom Opening Night Live. The already published material became the source of short videos, each of which could separately remind about the game.

    Video clipping helps continue the distribution of a trailer after its initial showing. Highlighting montages bring individual moments back into focus when the audience has already moved on to other news. For a gaming brand, this transition from a big general announcement to small specific reasons to remember it is useful. One finished material gets different versions of its beginning and presentation. The viewer has the opportunity to notice the game through a specific scene, even if the trailer itself passed them by during the presentation.

    SEGA / Crazy Taxi — extend the moment of a big announcement — illustration 2

    The big announcement is out, and there are still many strong scenes in it? Extend it with a video clipping campaign on VibeVO, so that creators find new short reasons to talk about your project.

  • Case study: Call of Duty — Gameplay Shaped

    Case study: Call of Duty — Gameplay Shaped

    Campaign Figures

    Metric Value Explanation
    Views 26,003,576 accumulated campaign counter.
    Declared Fund $105,000 rewards budget.
    Approved Works 478 individual content counter.
    Creators 237 by published counter.
    CPM by Terms $1.50–$1.75 rate per 1,000 credited views.
    CPV by Rate $0.00150–$0.00175 equivalent per 1 credited view.

    Data cut-off 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with eligibility conditions and limits, not the actual cost of the entire campaign. Fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. The range reflects different distribution conditions. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    Gameplay recording and a finished short video are different materials. In the Call of Duty campaign, this distinction was enshrined directly in the task: raw footage of the Modern Warfare 4 multiplayer beta had to be turned into complete edited clips. Simply publishing raw footage was not suitable. Creators were required to select a fragment and assemble it so that the action was interesting to watch as a separate short story.

    Such video clipping requires editorial choice: for an unfamiliar viewer, a clear episode with its own beginning and end is needed. Highlight editing helps to extract it from the gameplay and give the action the form of a short story. The meaning of the processing requirement is precisely this. A player’s interest in an entire match does not yet mean that any of its fragments will be understandable from the outside. For game marketing, it is useful to describe in advance the difference between the source material and the impression a person should get after editing.

    Call of Duty — gameplay shaped — illustration 2

    Want to showcase the game through its most expressive episodes? Launch a video clipping campaign on VibeVO and give creators the task to assemble complete short stories from gameplay.

  • Case study: Tom & Jerry — trailer as game material

    Case study: Tom & Jerry — trailer as game material

    Campaign figures

    Indicator Value Explanation
    Views 3 494 accumulated campaign counter.
    Declared fund $4 875 rewards budget.
    Approved works 0 separate content counter.
    Authors 0 by published counter.
    CPM by terms $1,25 rate per 1,000 counted views.
    CPV by rate $0,00125 equivalent per 1 counted view.

    Data cut 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with admission terms and limits, not the actual cost of the entire campaign. Fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    Tom and Jerry’s relationship is clear even before the first lines. In the Forbidden Compass film campaign, authors were invited to take the trailer and actively engage with it: cut fragments, make remixes, add reactions. The task was to highlight the strongest moments and build interest in the start of the release. Ready-made animation became the basis for many short creative interpretations.

    At the time of review, this was an early cut of the campaign, so its structure should be analyzed. Video clipping of a familiar franchise can immediately get to the point: the characters’ relationships are already clear to many viewers. Highlight editing emphasizes a strong scene, and allowed reactions and remixes give authors their own way to present it. The connection to the new film is important. Character recognition attracts attention, but a short video should give people a reason to be interested in this particular story and its upcoming release.

    Tom & Jerry — trailer as game material — illustration 2

    Use the trailer of your new project as the basis for a campaign on VibeVO. Offer authors short edited versions and reactions that keep the focus on your premiere.

  • Case study: The Real Wolf of Wall Street / Paramount+ — familiar story, new access

    Case study: The Real Wolf of Wall Street / Paramount+ — familiar story, new access

    Campaign Metrics

    Metric Value Explanation
    Views 604 578 accumulated campaign counter.
    Declared Fund $1 001 rewards budget.
    Approved Works 159 separate content counter.
    Authors 44 according to the published counter.
    CPM by Terms $1,00 rate per 1,000 counted views.
    CPV by Rate $0,00100 equivalent per 1 counted view.

    Data cut-off 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with admission terms and limits, not the actual cost of the entire campaign. Fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    The title already evokes associations, and the documentary format offers an additional reason to take a closer look: to hear from the people who lived this story themselves. In The Real Wolf of Wall Street campaign, the material for clipping included episodes of the show, exclusive behind-the-scenes footage with participants, and podcast snippets. This combination allowed for short videos to be made around different levels of access to the same story.

    Video clipping uses the gap between a familiar title and unknown details of the real story. Cutting podcasts into short videos complements show scenes and behind-the-scenes footage: each type of material promises its own level of access to the participants of the events. The editor can choose one answer or episode that raises a specific question, leaving the full story outside the video. For a documentary project, this is a natural mechanism for introduction. A short fragment shows what new perspective the viewer can gain if they decide to watch the whole story.

    The Real Wolf of Wall Street / Paramount+ — familiar story, new access — illustration 2

    Do you have a documentary project, interviews with participants, or behind-the-scenes footage? Launch a video clipping campaign on VibeVO so that each such material becomes an independent reason to learn the whole story.

  • Case study: Amazon Prime Video — Selling the Desire to Know What’s Between Them

    Case study: Amazon Prime Video — Selling the Desire to Know What’s Between Them

    Campaign Figures

    Metric Value Explanation
    Views 54 859 accumulated campaign counter.
    Claimed Fund $7 000 rewards budget.
    Approved Works 0 separate content counter.
    Creators 0 by published counter.
    CPM by Terms $2,00 rate per 1,000 counted views.
    CPV by Rate $0,00200 equivalent per 1 counted view.

    Data cut-off 03.09.2026. CPV = CPM ÷ 1,000. This is the reward rate with eligibility conditions and limits, not the actual cost of the entire campaign. Fund does not equal expenses. Views are a total counter, not unique reach; approved works are counted separately. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    A glance, a pause, a kiss — for a romantic story, these are full-fledged advertising units. The campaign around Amazon Prime Video adaptations offered to create fan edits for Maxton Hall, Toi + Moi, Perfect Liars, and other projects. The task was formulated through emotion: choose scenes that make you immediately want to watch the entire story. The target audience was precisely defined — women aged 18–34 in Spain.

    Here, video clipping is subservient to the emotion of the genre: highlight editing selects a moment after which one wants to understand the characters’ relationship. A short video is enough to show the tension between people, preserving the feeling of an unfinished story. A clearly described audience helps creators choose their delivery and not try to please everyone at once. For a marketer, this is a good example of the creative brief matching the product. A romantic scene promises a specific experience, and the full series becomes a natural continuation of the interest it sparked in the viewer.

    Amazon Prime Video — selling the desire to know what's between them — illustration 2

    Promoting a story where viewers are captivated by the characters’ relationships? On VibeVO, you can launch a campaign of short edits around the most expressive scenes and direct interest to the full version.

  • Case study: Netflix / Devil May Cry — one trailer, dozens of reasons to wait

    Case study: Netflix / Devil May Cry — one trailer, dozens of reasons to wait

    Campaign Metrics

    Metric Value Explanation
    View Volume Not disclosed in available published data.
    Declared Fund $2,400 rewards budget.
    Campaign Material 1 trailer official second season trailer.
    Finished Videos No data final quantity not published.
    CPM by terms $0.50 rate per 1,000 counted views.
    CPV by rate $0.00050 equivalent per 1 counted view.

    Previously published terms, checked 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with admission terms and limits, not the actual cost of the entire campaign. The fund does not equal expenses. Views do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

    The trailer is already assembled from strong scenes, but often one is enough for a viewer to become interested in a series. The campaign around the second season of Devil May Cry offered exactly this kind of work: take the official trailer and create short anime edits. A single approved source set the boundaries within which creators could find their own rhythm and moment for a first introduction to the story.

    Turning a long video into cuts is useful when one expressive scene is enough for a viewer to become interested in an entire story. Video clipping gives creators the opportunity to emphasize different aspects within the overall trailer. The full version follows one sequence, while short edits highlight individual moments and offer their own rhythm. For a franchise, this is a way to give fans material for creative dissemination of interest. At the same time, the common approved source helps maintain the visual character of the work and its connection to a specific season.

    Netflix / Devil May Cry — one trailer, dozens of reasons to wait — illustration 2

    Does your project already have a trailer or a big announcement? Launch its video clipping on VibeVO and invite creators to find scenes that make you want to start getting acquainted with the story.