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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

Case study: Tim McGraw — Concert Footage Continues Song’s Journey

Campaign Metrics

Metric	Value	Explanation
Views	1 437 818	accumulated campaign counter.
Claimed Fund	$1 000	rewards budget.
Approved Works	42	individual content counter.
Authors	28	by published counter.
CPM by Terms	$1.00–$1.50	rate per 1,000 counted views.
CPV by Rate	$0.00100–$0.00150	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. The range reflects different distribution conditions. Views do not equal unique reach or sales. Conclusions about marketing mechanics are editorial analysis; the presence of a campaign around a brand does not necessarily mean its direct placement.

The Tim McGraw campaign around Pawn Shop Guitar invited creators to take concert fragments from the official folder and distribute them in short format. In such a task, already produced stage footage becomes an independent promotion resource. There’s no need to reinvent a situation for the music: the performance provides the raw material, and the choice of episode determines the impression the viewer receives.

Highlight editing extends the life of a performance beyond the full recording. The creator selects an episode that already has musical development and an expressive conclusion, so that the short version feels complete. For an artist, this approach allows introducing the viewer to a song through a specific stage moment. People don’t need to know the concert program in advance or watch a long video. It’s important to preserve the character of the performance: then even a small publication conveys the impression of a live stage and leaves interest in what sounded before and after it.

Tim McGraw — concert footage continues song's journey — illustration 2

Give concert recordings the next stage of life. Launch their video clipping on VibeVO so creators can highlight independent musical moments for short publications.

03.09.2026

Case study: Brandi Carlile — short video as an invitation to a specific event

Campaign Figures

Metric	Value	Explanation
View Volume	Undisclosed	in available published data.
Declared Fund	$1,450	rewards budget.
Campaign Material	The Gorge	promotion of concert performances.
Finished Videos	No data	final quantity not published.
CPM by Terms	$1.50	rate per 1,000 counted views.
CPV by Rate	$0.00150	equivalent per 1 counted view.

Previously published terms, verified 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 do not equal 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.

The Brandi Carlile campaign had a precise promotional item — upcoming performances at the Gorge Amphitheater. Authors were provided with an approved folder of materials from which they were invited to create short videos and increase awareness of these shows. Such a brief connects interest in the artist with a specific event: it is important for the viewer to understand not only who they see, but also what the publication refers to.

Highlight editing here should maintain a connection to specific performances. Each fragment can have its own emotional delivery, but it is important for the viewer to understand what event lies behind this impression. For event marketing, such specificity is more useful than a general reminder of the artist. A prepared set of materials helps authors stick to one topic and choose different moments within it. As a result, short videos can become small invitations to learn more about the concerts, maintaining the connection between the performer’s name, the venue, and the upcoming experience.

Brandi Carlile — short video as an invitation to a specific event — illustration 2

Announcing specific concerts or a series of performances? Launch a video clipping campaign on VibeVO and provide authors with materials from which they can create short invitations to your event.

03.09.2026

Case study: Empire of the Sun — three songs as a reserve of different emotions

Campaign Figures

Indicator	Value	Explanation
View Volume	Not disclosed	in available published data.
Declared Fund	$1 875	rewards budget.
Campaign Material	3 tracks	Alive, Walking On A Dream, We Are The People.
Finished Videos	No data	final quantity not published.
CPM by terms	$1.00	rate per 1,000 counted views.
CPV by rate	$0.00100	equivalent per 1 counted view.

Previously published terms, checked on 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 do not equal 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.

The Empire of the Sun campaign was built around Alive, Walking On A Dream, and We Are The People. Authors were offered approved materials and the task to create edits that evoke positive interest in these compositions. Several songs provided a common musical world, within which one could choose the mood of an individual video and present the group’s work in different ways.

Highlight editing allows choosing the mood of the video within the group’s overall musical world. Several compositions give authors different emotional anchors, while maintaining the recognizable subject of the campaign. For working with a catalog, it’s useful that the music itself becomes the occasion: an existing song can also re-engage the viewer through an expressive fragment. It’s important to give authors clear material and direction for presentation. Then short versions can offer different first impressions of the group’s work and bring familiar listeners back to songs they want to listen to again.

Empire of the Sun — three songs as a reserve of different emotions — illustration 2

Want to draw attention to the strong songs in your catalog again? Launch a campaign on VibeVO, combining musical edits with video clipping of suitable ready-made materials.

03.09.2026

Case study: Foster the People — a familiar song gets a new reason to be heard

Campaign Metrics

Metric	Value	Explanation
Views	2 197 694	accumulated campaign counter.
Claimed Fund	$1 875	rewards budget.
Approved Works	28	separate content counter.
Authors	15	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 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 direct placement by the brand.

A remix has a useful advantage: some listeners already know the song but haven’t heard its new interpretation yet. The Foster the People campaign was dedicated to OMRI’s version of Pumped Up Kicks. Editors were offered materials from approved folders and the task to support the recognition of this particular release through short videos. The common focus of various publications became the new interpretation of the well-known composition.

Highlight editing in a remix campaign should clearly keep attention on the new interpretation of the song. A recognizable composition can attract a long-time listener, and the changed sound can provide a reason to be interested in the release. For catalog promotion, this is a useful link between audience memory and new material. It is important for authors to maintain this in a short video: the viewer should understand which version they are hearing and why it appeared in their field of attention. Then, the familiar name helps to open a conversation about an independent new work.

Foster the People — знакомая песня получает новый повод прозвучать — illustration 2

Releasing a remix of a song familiar to your audience? Launch a campaign around the new sound on VibeVO, using music edits and video clipping of prepared release materials.

03.09.2026

Case study: Mumford & Sons — release a music video and continue its story

Campaign Metrics

Metric	Value	Explanation
View Count	Undisclosed	in available published data.
Stated Fund	$6,165	rewards budget.
Campaign Material	1 music video	Here — source for short versions.
Finished Videos	No data	final quantity not published.
CPM per terms	$1.00	rate per 1,000 counted views.
CPV per rate	$0.00100	equivalent per 1 counted view.

Previously published terms, verified 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 do not equal unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the existence of a campaign around a brand does not necessarily imply its direct placement.

The premiere of a music video does not exhaust its promotional opportunities. The Mumford & Sons campaign invited creators to take the finished Here music video and assemble short versions from it, so that more people would learn about the new work. The source material remained common, and the decision of which fragment would become an independent publication became the main creative task.

Turning a long video into cuts is a way to continue working with a music premiere after the initial announcement. A full music video has its own pace and sequence, while a short version can focus on one expressive moment. For an artist, this is an opportunity to offer viewers several small introductions to an already filmed work. The editing should preserve the mood of the original and the feeling of a complete episode. Then a short video gives an independent impression and leaves curiosity about how this scene looks within the full visual story.

Mumford & Sons — release a music video and continue its story — illustration 2

Has your new music video been released? Launch a video clipping campaign on VibeVO so that creators can find short stories in it and various reasons to watch the original.

03.09.2026

Case study: The Rolling Stones × Fatboy Slim — a musical meeting as an information occasion

Campaign figures

Indicator	Value	Explanation
View volume	Not disclosed	in available published data.
Declared fund	$1,871	rewards budget.
Campaign material	1 music video	joint music release.
Finished videos	No data	final number not published.
CPM by terms	$0.70–$1.75	rate per 1,000 counted views.
CPV by rate	$0.00070–$0.00175	equivalent per 1 counted view.

Previously published terms, verified 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. The range reflects different distribution conditions. 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.

The joint work of two recognizable names already contains a reason for conversation. In The Rolling Stones × Fatboy Slim campaign, authors were invited to make short fragments from a ready-made music video. The brief presented the project as the first such collaboration in 25 years, making the time distance part of the advertising story. The editing could rely on the video itself and on the interest in this meeting.

Cutting long videos into short ones here gains additional meaning thanks to the history of the artists themselves. A fragment of a music video can be presented through interest in collaborative work, preserving its visual character. For a marketer, it is useful to look for such a clear context: why does this material deserve attention precisely as an event? Familiar names help start a conversation, and the editing should give the viewer an impression of the new work. At the same time, the historical framework should be linked to how the project is presented in the brief, maintaining the accuracy of its wording.

Does your release have a bright backstory or unusual collaboration? On VibeVO, you can launch its videoclipping and invite authors to reveal this occasion through fragments of the finished video.

03.09.2026