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Tag: campaign metrics

  • Case study: Halsey — a concert moment as a separate introduction to the artist

    Case study: Halsey — a concert moment as a separate introduction to the artist

    Campaign Metrics

    Metric Value Explanation
    Views 2 086 accumulated campaign counter.
    Declared Fund $1 500 rewards budget.
    Approved Works 2 separate content counter.
    Authors 2 by published counter.
    CPM by Terms $1,50 rate per 1,000 credited views.
    CPV by Rate $0,00150 equivalent per 1 credited view.

    Data cut 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.

    A stage performance gives an artist material that is difficult to replace with advertising text: the viewer sees the performance here and now. In the Halsey campaign, authors were invited to publish short fragments of a recent live performance. The source was already described in the brief as having attracted significant attention; the task of clipping was to further distribute selected moments through a short format.

    At the time of review, the campaign itself was in its early stages, so it should be considered as an approach to distributing the performance. Editing highlights can emphasize different moments of the same recording, maintaining the feeling of the stage and live performance. For music marketing, this is working with existing material: each selected fragment becomes a small introduction to the artist. It is important that the video is perceived as a whole and conveys the character of a specific performance. Then the stage recording retains its expressiveness even for a person who will see only a short episode.

    Halsey — concert moment as a separate introduction to the artist — illustration 2

    Do you have a concert recording that you want to show to a new audience? Launch a video clipping campaign on VibeVO, using individual expressive moments of the performance.

  • Case study: Jesser — a big release as a stock of small sports stories

    Case study: Jesser — a big release as a stock of small sports stories

    Campaign Metrics

    Metric Value Explanation
    Views 6,284,277 accumulated campaign counter.
    Declared Fund $3,200 rewards budget.
    Approved Works 131 individual content counter.
    Authors 82 by published counter.
    CPM by terms $0.30–$0.76 rate per 1,000 credited views.
    CPV by rate $0.00030–$0.00076 equivalent per 1 credited 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. 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.

    Basketball author Jesser has familiar material — complex shots, challenges, and Bucketsquad content. In the campaign, editors were invited to work with his new video: select fragments, publish short versions, and receive remuneration for views. The connection to the fresh release was important: additional videos were supposed to support the author’s current story, not a random cut from the archive.

    Video clipping continues to work on the release after its publication. Highlight editing helps find sports episodes that are interesting without familiarity with the author’s previous videos. Each such fragment can have its own intrigue and conclusion, so the viewer gets a small, complete story. For a personal brand, the connection to a fresh source is useful: different videos support one current release. And the choice of several authors allows showing it from different angles and giving a new audience several reasons to get acquainted with the hero.

    Jesser — a big release as a stock of small sports stories — illustration 2

    Does your new release feature competitions, challenges, or spectacular attempts? Launch a campaign on VibeVO so that video clipping helps turn individual episodes into independent short stories.

  • Case study: Jake Paul — short format at the speed of news interest

    Case study: Jake Paul — short format at the speed of news interest

    Campaign Metrics

    Metric Value Explanation
    Views per report 3 868 915 in less than 24 hours.
    Paid to creators $1 271,48 according to the published report.
    Creators 394 campaign participants.
    Content volume 919 videos submitted in 17 hours.
    Estimated eCPM ≈ $0,33 payouts to creators per 1,000 views.
    Estimated eCPV ≈ $0,000329 payouts to creators per 1 view.

    Data from the published report, verified on 03.09.2026. eCPV = payouts to creators ÷ views; eCPM = eCPV × 1,000. This is a calculation based on stated payouts, without the full budget, commissions, and other costs. Views are not equal to unique reach. Views are not equal to unique reach or sales. Conclusions about marketing mechanics are an editorial analysis; the existence of a campaign around a brand does not necessarily mean its direct placement.

    A long interview has a limited time when its topic is particularly attractive. The campaign around Jake Paul’s conversation with Donald Trump used this short window to mass-produce fragments. Creators were offered to turn the interview into independent short videos; the minimum duration was ten seconds. The marketing task here is to distribute the material and develop the media brand of the interviewer.

    Video clipping in such a situation depends on the speed of organization: the source material already generates interest, and creators need clear material to work with. Cutting an interview into clips is useful to highlight individual topics of a large conversation while the audience continues to discuss it. Each version should preserve the interlocutor’s thought and sufficient context. For a media creator, this is a way to present one episode from different angles. Not only the moment of publication matters, but also how clearly the short episode shows the content of the full conversation.

    Jake Paul — short format at the speed of news interest — illustration 2

    Do you have an interview coming out on a topic that is being discussed right now? Prepare the source material and launch a video clipping campaign on VibeVO so that creators can work with its individual stories.

  • Case study: Lyrical Lemonade — guest and topic come before the title

    Case study: Lyrical Lemonade — guest and topic come before the title

    Campaign Metrics

    Metric Value Explanation
    Views 1 688 344 accumulated campaign counter.
    Declared Fund $1 000 rewards budget.
    Approved Works 14 separate content counter.
    Authors 10 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-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 editorial analysis; the presence of a campaign around a brand does not necessarily mean direct placement.

    An unfamiliar viewer is usually more interested in a specific person or conversation than a promise to “watch our new show.” In the Lyrical Lemonade TV campaign, this logic was turned into a rule: captions had to talk about the guest or topic of the episode. Material was only allowed to be taken from already released episodes. Fabricated quotes, artificially created guests, and simple reposts were specifically prohibited.

    Video clipping here is related to editorial discipline: cutting long videos into short ones should preserve the real hero and the real topic. The terms also set a like-to-view ratio threshold of 1%. For a media brand, the choice of entry point itself is important: people are offered an interesting conversation, and acquaintance with the show’s name follows. The editor needs to find a meaningful fragment and give it an honest caption. This approach helps to distribute episodes while maintaining trust in the people on screen and what they actually said.

    Lyrical Lemonade — guest and topic come before the title — illustration 2

    Are your episodes full of strong guests and topics? Launch a video clipping campaign on VibeVO, giving authors clear editorial rules for selecting fragments and captions.

  • Case study: Rolling Loud — the festival continues in the audience’s memory

    Case study: Rolling Loud — the festival continues in the audience’s memory

    Campaign Figures

    Metric Value Explanation
    Views 2 000 accumulated campaign counter.
    Declared Fund $1 000 rewards budget.
    Approved Works 0 separate content counter.
    Authors 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 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. 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.

    After concerts, not only performance recordings remain, but also the feeling of “I want to go back” or “I wish I had been there.” The Rolling Loud Orlando campaign banked on exactly this. Fan pages were offered to distribute energetic edits and posts about the missed experience. However, there was a clear restriction: only use footage from the current year’s Orlando festival.

    This is an early snapshot of the campaign, but its creative objective is already clear. Video clipping should preserve the aftertaste of the event, and highlight editing should convey what its participants remember. The restriction on the location and year of filming helps to avoid substituting a specific experience with a beautiful archive. For an event brand, such precision is important: the viewer gets acquainted with this particular festival. Short videos can continue the conversation after the program ends, offering a reason to revisit what was experienced or to become interested in the event for the future.

    Rolling Loud — the festival continues in the audience's memory — illustration 2

    The festival is over, but vivid footage remains? Launch their video clipping on VibeVO and invite authors to convey the atmosphere of a specific event through short stories.

  • Case study: Arena Club — The Chase That Explains the Campaign’s Name

    Case study: Arena Club — The Chase That Explains the Campaign’s Name

    Campaign Metrics

    Metric Value Explanation
    Views 2,432,282 accumulated campaign counter.
    Claimed Fund $20,000 rewards budget.
    Approved Works 119 separate content counter.
    Authors 57 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 snapshot 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.

    Derek Jeter is running from pursuers — this scene forms the basis of The Chase commercial for Arena Club. The promotion linked the opening of digital packs with the search for special cards that offered a chance to win Super Bowl tickets. The service’s digital cards are backed by real, verified copies, stored until shipped to the owner. For the clipping campaign, this story featuring the company’s co-founder was used.

    Video clipping relies on a clear action: the campaign’s name turns into a chase. Highlighting edits can feature independent episodes of a finished commercial, retaining a recognizable hero and a common reason for participation. For an unusual product, this is a useful way to start an explanation with a story. First, the viewer understands what is happening in the frame, then they may become interested in the rules and the cards themselves. The main thing is not to lose this connection when shortening: an entertaining fragment should leave a clear reference to which campaign it belongs.

    Arena Club — погоня, которая объясняет название акции — illustration 2

    Does your campaign have a story-driven video or a memorable hero? Launch a campaign on VibeVO so that short edited versions continue the story and maintain a connection with the brand’s offering.

  • 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: 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: 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.

  • Case study: KATSEYE × Never Have I Ever — a collaboration worth considering

    Case study: KATSEYE × Never Have I Ever — a collaboration worth considering

    Campaign Figures

    Metric Value Explanation
    Views 655 339 accumulated campaign counter.
    Stated Fund $1 000 rewards budget.
    Approved Works 24 separate content counter.
    Authors 9 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-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. 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 music group and nail design appear in the frame much more naturally than it might seem. In this campaign, Never Have I Ever is a press-on nail brand that teamed up with KATSEYE. Authors were invited to create short content about the collaboration and showcase the designs created. The task of editing was to connect the artists’ recognition with a specific item that the viewer might want to try on.

    For this collaboration, video clipping must maintain a balance between the artists’ recognition and the distinctiveness of the design. Highlight editing can begin with a familiar face, but the product needs to get its own expressive moment. Otherwise, the viewer will remember the celebrity and miss the collaboration item. In a short video, it’s convenient to focus on one detail, gesture, or impression of the image. This approach helps turn news of a partnership into a personal question for the viewer: how will this design look on me, and will I want to try it on?

    KATSEYE × Never Have I Ever — a collaboration worth considering — illustration 2

    Are you preparing a collaboration and want to showcase its product in detail? Launch a campaign on VibeVO so that short videos reveal both the idea of the collaboration and what can be chosen for oneself.