Tag: video clipping campaign

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: 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: 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: 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: 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: 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: Tyla — Album Unfolds Through Multiple Performances

Campaign Figures

Metric	Value	Explanation
Views	2,356,416	accumulated campaign counter.
Claimed Fund	$3,000	rewards budget.
Approved Works	47	separate content counter.
Creators	32	by published counter.
CPM by Terms	$0.50	rate per 1,000 counted views.
CPV by Rate	$0.00050	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 direct placement by the brand.

Instead of a single universal advertisement for the new album, Tyla’s campaign offered a whole set of source materials. Creators could work with the first live performance of That Girl on TODAY, a Chanel video, and the Is It Love performance. The task was simple: find the best moments, turn them into short posts, and maintain interest in A*POP through different facets of the artist.

Multiple sources allow for changing the emotional emphasis while maintaining attention on one album. Editing highlights can showcase different performances and find a unique short story in each. For a music brand, this is a useful variety: the campaign does not depend on a single promotional video. One viewer will notice the performance of a specific song, another — the artist’s presentation in a different stage situation. The overall release ties these introductions together. The creator’s task is to choose a moment that clearly conveys the character of the material and generates interest in the music beyond it.

Tyla — album unfolds through multiple performances — illustration 2

Are you preparing an album and have already filmed several performances or videos? Gather them as the basis for a video clipping campaign on VibeVO, so creators can find different entry points into your release.

03.09.2026

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.

03.09.2026

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.

03.09.2026