Category: Stream and podcast clipping

Case study: Kaskade × Whethan × Crankdat — set energy in a short version

Campaign Metrics

Metric	Value	Explanation
Views	454 447	accumulated campaign counter.
Declared Fund	$1 150	rewards budget.
Approved Works	4	separate content counter.
Authors	2	by 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 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. Views are not equal to 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.

To promote the Set, authors were offered recordings of live DJ performances and materials from an approved folder. The brief required emotional editing, precise synchronization, and a strong opening. It was specifically stated to avoid adding official audio. Thus, the task was built around the provided performances and their processing into short publications capable of attracting interest from the very first seconds.

Editing highlights of a live set should preserve the feeling of musical development even in a short fragment. It is important for the author to choose a moment with expressive dynamics and assemble it so that the video is perceived as a whole. For a joint release, this is a way to introduce the listener to the track through a specific performance. The stage gives it context: the music is already playing within the performance, and the chosen shots help to feel its character. Such first acquaintance can leave an interest in the full recording and what happened next in the set.

Kaskade × Whethan × Crankdat — set energy in a short version — illustration 2

Does your track have an expressive live performance? Launch a video clipping campaign on VibeVO and invite authors to preserve its energy in short edited versions.

03.09.2026

Case study: Kesha — Music Meets Already Loved Stories

Campaign Figures

Metric	Value	Explanation
Views	250 214	accumulated campaign counter.
Declared Fund	$1 000	rewards budget.
Approved Works	1	individual content counter.
Authors	1	by 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 the 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. 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 Origami campaign invited creators to combine Kesha’s song with snippets from TV series, football footage, and dance videos. The montage had to be emotional, precisely match the music, and grab attention from the start. The track was at the center, and screen stories familiar to the viewer became material for its new visual interpretation.

A highlight montage connects familiar screen stories with music new to the viewer. A person can pause on a favorite character or a sports emotion and simultaneously hear the track for the first time. For the campaign, the musical core is important: the song must unite the footage into a self-contained impression. The author has to choose not only a recognizable scene but also how its movement and mood coincide with the sound. Then the video acquires its own character, and after viewing, there remains a reason to be interested in the composition that helped create this impression.

Want to present a song through expressive music edits? Launch a campaign on VibeVO, and for your own ready-made release footage, use video clipping as another way to tell the track’s story.

03.09.2026

Case study: David Guetta — the song becomes the soundtrack to various summer stories

Campaign Metrics

Metric	Value	Explanation
Views	1 203 545	accumulated campaign counter.
Declared Fund	$1 000	rewards budget.
Approved Works	6	separate content counter.
Authors	2	by published counter.
CPM by terms	$1,00	rate per 1,000 counted views.
CPV by rate	$0,00100	equivalent per 1 counted view.

Data snapshot 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 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.

In the Run Run River campaign, authors were invited to create summer, festival, sports, and dance edits using the official track recording. The editing requirements were specific: emotional delivery, precise synchronization of image with music, and an engaging hook in the first two seconds. The song connected different stories, each of which could appeal to its own audience.

The highlight editing here is subordinate to the track: a sports scene, a dance, or a summer episode should combine with the music into a single emotional impression. Different plots give the song several entry points into the audience. One person stops at a familiar hobby, another — at the mood of the chosen frames. For release promotion, it is useful to maintain a common musical center: it is the composition that should connect what is seen. Then, interest in a specific story can continue with a desire to know what song gave it such rhythm and character.

David Guetta — песня становится саундтреком разных летних историй — illustration 2

Do you have a track and video materials that convey its mood? Launch a VibeVO campaign of musical edits; video clipping of prepared footage can give it additional short stories.

03.09.2026

Case study: BLOND:ISH / Pacha Ibiza — the viewer is invited to imagine themselves inside

Campaign Figures

Metric	Value	Explanation
Views	4 025 003	accumulated campaign counter.
Declared Fund	$4 000	rewards budget.
Approved Works	59	separate content counter.
Authors	26	by published counter.
CPM by terms	$1.50	rate per 1,000 counted views.
CPV by rate	$0.00150	equivalent per 1 counted view.

Data cut as of 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 is not equal to expenses. Views are a total counter, not unique reach; approved works are counted separately. Views are not equal to unique reach or sales. Conclusions about marketing mechanics are editorial analysis; the presence of a campaign around a brand does not necessarily mean direct placement.

“You and your friends on Ibiza on a summer Wednesday” — this was roughly the perspective offered by the brief for BLOND:ISH’s residency at Pacha. Authors used an approved folder of videos and added captions from the viewer’s perspective, helping them imagine themselves as part of the evening. The minimum video duration was 10 seconds. A short fragment turned into a small scene of a possible personal experience.

The highlight reel here is complemented by a clear life scenario: a person looks at the footage and imagines their own company within that evening. For event marketing, this approach translates the atmosphere into the language of personal desire. The name of the residency gets a connection to a specific mood and the viewer’s possible plans. It is important for the author that the text matches the image and helps to feel the moment. Then a short video can work as a small invitation to imagine an experience, which one then wants to learn more about, keeping this specific event at the center.

BLOND:ISH / Pacha Ibiza — the viewer is invited to imagine themselves inside — illustration 2

What kind of evening do you want to offer your audience? Launch a video clipping campaign on VibeVO with ready-made footage and a clear scenario in which the viewer can imagine themselves.

03.09.2026

Case study: OUR HOUSE / James Hype × MEDUZA — the party gets its own image

Campaign Figures

Metric	Value	Explanation
Views	8 547 869	accumulated campaign counter.
Declared Fund	$10 000	rewards budget.
Approved Works	2	separate content counter.
Authors	1	per published counter.
CPM by Terms	$1,00	rate per 1,000 credited views.
CPV by Rate	$0,00100	equivalent per 1 credited view.

Data cut-off 03.09.2026. CPV = CPM ÷ 1,000. This is a reward rate with eligibility 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 OUR HOUSE residency at Hï Ibiza brought together James Hype and MEDUZA in a single event offering. For the campaign, authors were given official materials from this residency and asked to create high-quality short videos. The object of promotion became the combination of performers and a specific series of performances — an experience that can be presented through scenes from prepared footage.

Editing highlights allows showing an individual performer within the overall program of the evening. For an event brand, this helps connect a familiar name with the residency’s name and the experience it offers. A short fragment can interest a fan of the artist, and then give them a reason to delve into the event itself. It is important to maintain this connection when choosing shots and design. Then different publications continue the general conversation about the program, and the impression of the performance does not remain a random scene without a clear place in the residency’s history.

OUR HOUSE / James Hype × MEDUZA — у вечеринки появляется собственный образ — illustration 2

Promoting a series of parties or performances with several artists? Launch a video clipping campaign on VibeVO so that short videos connect familiar names with the image of your event.

03.09.2026

Case study: Madeon × Ninajirachi — a remix as a meeting of two audiences

Campaign figures

Indicator	Value	Explanation
Views	295 551	accumulated campaign counter.
Declared fund	$1 875	rewards budget.
Approved works	6	separate content counter.
Authors	6	according to the 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-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. Views are not equal to 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.

At the heart of the campaign is Madeon’s remix of Ninajirachi’s song iPod Touch. Authors were provided with a folder of approved materials and offered to make short edited versions, increasing the recognition of the release. This task connected two names in one musical occasion: the viewer could come out of interest in the author of the original song, the remixer, or the short video itself.

Highlight editing gives the joint release different ways to start acquaintance with the listener. One viewer already knows the original song, another follows the remixer, a third notices an interesting short video. It is important for authors to maintain the general subject of the campaign so that the chosen shots and their rhythm help to remember the new work. For musical collaboration, this is a useful balance between freedom of presentation and accuracy. A short video can have its own character, while remaining a clear invitation to hear this particular version of the composition and learn more about it.

Madeon × Ninajirachi — a remix as a meeting of two audiences — illustration 2

Connecting two creative names in a release? Launch a campaign on VibeVO with musical edits and video clipping of ready-made material, so that authors find different ways to present joint work.

03.09.2026

Case study: Tinie Tempah — Catching a Moment Already Noticed

Campaign Metrics

Metric	Value	Explanation
Views	0	accumulated campaign counter.
Claimed Fund	$1,000	rewards budget.
Approved Works	0	separate content counter.
Creators	0	by published counter.
CPM by Terms	$4.00	rate per 1,000 counted views.
CPV by Rate	$0.00400	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 is not equal to expenses. Views are a total counter, not unique reach; approved works are counted separately. As of the check date, views have not yet been recorded. Views are not equal to 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.

Tinie Tempah’s performance at Boardmasters, according to the brief’s description, had already generated viral interest. The campaign proposed to extend it: republish selected short fragments, add appropriate text, and monitor image quality. Here, the work began with specific material, the reaction to which the organizers already considered promising for further distribution.

At the time of the check, the campaign itself had no recorded views yet. Therefore, this example should be read as an intention to continue the newsbreak. Editing highlights and new captions were intended to help present already noticed fragments to the next viewer. For an artist, it is useful to be ready to quickly provide creators with suitable material and quality requirements. A short publication needs clear context even when the original moment is already being discussed. The caption helps explain what a person sees and why this episode of the performance attracted attention.

Tinie Tempah — Catching a Moment Already Noticed — illustration 2

Did viewers highlight a striking moment of your performance? Prepare it for further distribution and launch a video clipping campaign on VibeVO with clear presentation requirements.

03.09.2026

Case study: All Time Low — Keep the Live Performance as the Main Focus

Campaign Figures

Metric	Value	Explanation
Views	278 839	accumulated campaign counter.
Declared Fund	$1 000	rewards budget.
Approved Works	0	separate content counter.
Authors	0	by 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 the 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. 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.

In the Monsters campaign, the sound was adjusted with particular care. Authors took ready-made concert clips, added the official song recording at 1% volume, and the main sound was to remain the live performance. This condition preserved the stage presentation of the material and at the same time added the specified audio recording to the publication. A small adjustment became an important part of the entire video’s structure.

The montage of concert highlight footage should consider why the viewer watches a live performance in particular. In this case, the character of the stage sound was part of the impression that needed to be preserved. A complete audio replacement would have changed the presentation of the material, so the brief specifically set the volume ratio. For music marketing, it is useful to think through such details in advance. Image, performance, and sound form one scene; a short fragment should convey it cohesively enough for a person to feel a specific moment of the concert and become interested in the song itself.

All Time Low — оставить живое исполнение главным — illustration 2

Is live sound especially important in your concert footage? Launch a video clipping campaign on VibeVO, explaining in advance to the authors which performance features need to be preserved.

03.09.2026

Case study: Leon Bridges — one expressive fragment leads to the full clip

Campaign figures

Metric	Value	Explanation
Views	1,590,154	accumulated campaign counter.
Declared fund	$4,250	rewards budget.
Approved works	28	individual content counter.
Authors	11	by 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 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.

The Leon Bridges campaign invited creators to work with the ready-made music video Talk It Over. The task was to cut short fragments, publish them, and introduce the audience to the new clip. The common source made the campaign cohesive, while the choice of moment remained the author’s work: it was necessary to find an excerpt interesting even to someone who knows nothing about the release.

Cutting long videos into short ones allows selecting one expressive scene as an invitation to the full work. A music video already contains a common visual world, so a separate fragment can convey its mood without retelling the whole story. For the author, it is important to find a moment that is interesting in itself and does not require a long explanation. This approach is useful after the premiere: an already filmed video gets new small reasons to introduce itself to the viewer. Each of them maintains a connection with the song and leaves interest in the original.

Leon Bridges — один выразительный фрагмент ведёт к полному клипу — illustration 2

Show a new song through different fragments of its music video. On VibeVO, you can launch a video clipping campaign where creators find their own expressive scenes in one clip.

03.09.2026

Case study: Luke Bryan — the picture changes, the song remains the same

Campaign Metrics

Metric	Value	Explanation
Views	742 074	accumulated campaign counter.
Declared Fund	$1 200	rewards budget.
Approved Works	84	separate content counter.
Authors	67	by published counter.
CPM by Terms	$1.00	rate per 1,000 counted views.
CPV by Rate	$0.00100	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. 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.

In the Crooked Rows of Corn campaign, working with sound was an important part of the task. Authors were offered to take clips from a ready-made folder, remove the embedded audio track, and use the specified song recording options. As a result, various short publications had to maintain common musical content, even if the authors chose different fragments of the original video material.

Highlight editing provides a variety of images, and the specified audio recording links publications to one song. For music promotion, this is an important discipline: the viewer must hear exactly the version of the composition that the campaign refers to. Even a small technical instruction here supports the general meaning. The author can choose a fragment in their own way and build the beginning, preserving the musical center of the video. This approach is useful when materials come from different shoots or already contain their own sound that can distract from the promoted release.

Luke Bryan — the picture changes, the song remains the same — illustration 2

If a specific version of the recording is important for your release, reflect this in the task. Launch a video clipping campaign on VibeVO, connecting different short videos with one musical basis.

03.09.2026