Friday, 13 January 2012
http://www.dmwmedia.com/news/2012/01/12/vevo-secures-sponsorship-for-original-programming
http://www.digitalspy.co.uk/tech/news/a359850/brit-awards-2012-partners-with-vevo-online-music-site.html
http://latimesblogs.latimes.com/music_blog/2011/12/vevo-has-paid-out-100-million-to-songwriters-artists-publishers-labels.html
Vevo, the online music video service that turns 2 this month, has paid out more than $100 million in royalties since December 2009 to songwriters, recording artists, record labels and other music copyright holders.
That's a princely sum considering that music videos, even in their MTV heyday in the 1980s, were given away for free to promote record sales.
What's more, viewers can watch tens of thousands of music videos for free, as often as they wish, on a Web browser, in Facebook or on any number of smartphones and tablets. Instead of charging a fee, Vevo collects its revenue from ads that play alongside the music videos.
"We’re growing revenue in a way that doesn’t try to get people to pay for something they have never paid for before," said Rio Caraeff, chief executive of the New York-based online music service. While Vevo is not yet profitable, Caraeff (right) projects that it will be so sometime next year as its audience continues to grow, driving higher ad revenue.
More than 63 million unique visitors played a Vevo video in November, according to ComScore, more than double from just over 27 million in December 2009, when Caraeff combined the online music videos from Universal Music Group and Sony Music Entertainment into a single service jointly owned by the two record companies.
Vevo's visitors are also more engaged, each playing nearly 15 videos on average in November compared with fewer than 10 videos in January. They're also spending more time with the service — more than an hour on average per viewer, playing not just music videos but also original shows produced by Vevo, up from little more than half an hour two years ago.
The money Vevo pays out in royalties comes at a welcome time — when bands and labels alike are having to scrape together what pennies they can in the face of plummeting CD sales.
Caraeff plans on increasing the pace in 2012 with big expansion plans abroad to more countries in Europe and South America, and in Australia and New Zealand, for example. In October, the company announced a deal with Microsoft Corp. to distribute Vevo's videos to Xbox Live subscribers in the near future. It's also pushing other avenues to get its videos streamed to living room TVs as well — not just computers and mobile devices.
"The question we wanted to answer when we began two years ago was whether the audience for music videos could be monetized in a way that can sustain a business," Caraeff said. "We’ve seen the answer is yes."
http://www.digitalspy.co.uk/tech/news/a359850/brit-awards-2012-partners-with-vevo-online-music-site.html
http://latimesblogs.latimes.com/music_blog/2011/12/vevo-has-paid-out-100-million-to-songwriters-artists-publishers-labels.html
Vevo, the online music video service that turns 2 this month, has paid out more than $100 million in royalties since December 2009 to songwriters, recording artists, record labels and other music copyright holders.
That's a princely sum considering that music videos, even in their MTV heyday in the 1980s, were given away for free to promote record sales.
What's more, viewers can watch tens of thousands of music videos for free, as often as they wish, on a Web browser, in Facebook or on any number of smartphones and tablets. Instead of charging a fee, Vevo collects its revenue from ads that play alongside the music videos.
"We’re growing revenue in a way that doesn’t try to get people to pay for something they have never paid for before," said Rio Caraeff, chief executive of the New York-based online music service. While Vevo is not yet profitable, Caraeff (right) projects that it will be so sometime next year as its audience continues to grow, driving higher ad revenue.
More than 63 million unique visitors played a Vevo video in November, according to ComScore, more than double from just over 27 million in December 2009, when Caraeff combined the online music videos from Universal Music Group and Sony Music Entertainment into a single service jointly owned by the two record companies.
Vevo's visitors are also more engaged, each playing nearly 15 videos on average in November compared with fewer than 10 videos in January. They're also spending more time with the service — more than an hour on average per viewer, playing not just music videos but also original shows produced by Vevo, up from little more than half an hour two years ago.
The money Vevo pays out in royalties comes at a welcome time — when bands and labels alike are having to scrape together what pennies they can in the face of plummeting CD sales.
Caraeff plans on increasing the pace in 2012 with big expansion plans abroad to more countries in Europe and South America, and in Australia and New Zealand, for example. In October, the company announced a deal with Microsoft Corp. to distribute Vevo's videos to Xbox Live subscribers in the near future. It's also pushing other avenues to get its videos streamed to living room TVs as well — not just computers and mobile devices.
"The question we wanted to answer when we began two years ago was whether the audience for music videos could be monetized in a way that can sustain a business," Caraeff said. "We’ve seen the answer is yes."
Friday, 16 December 2011
The videocassette recorder (or VCR, also known as the video recorder), is a type of electro-mechanical device that uses removable videocassettes that contain magnetic tape for recording analogue audio and analogue video from broadcast television so that the images and sound can be played back at a more convenient time.
Early machines and formats
The history of the videocassette recorder follows the history of videotape recording in general. In 1952 the Vision Electronic Recording Apparatus high speed multi-track machine was built and trialled by the BBC. This machine used a thin steel tape on a 21 inch (53.5 cm) reel travelling at over 200 inches (510 cm) per second. Despite 6 years of research and improvements the machine became obsolete when Ampex introduced the Ampex VRX-1000. This model became the world's first commercially successful videotape recorder in 1956. It used the 2" Quadruplex format, using two-inch (5.1 cm) tape. Due to its US$50,000 price, the Ampex VRX-1000 could be afforded only by the television networks and the largest individual stations.
In 1963, Philips introduced their EL3400 1" helical scan recorder (aimed at the business and domestic user) and Sony marketed the 2" PV-100, their first reel-to-reel VTR intended for business, medical, airline, and educational use.
First home video recorders
The Telcan, produced by the Nottingham Electronic Valve Company in 1963, was the first home video recorder. It could be bought as a unit or in kit form for £60. However, there were several drawbacks: it was expensive, not easy to put together and could only record 20 minutes output at a time in black-and-white.
The Sony model CV-2000, first marketed in 1965, was their first VTR intended for home use and was based on half inch tape. Ampex and RCA followed in 1965 with their own reel-to-reel monochrome VTRs priced under US $1,000 for the home consumer market.
The EIAJ format was a standard half-inch format used by various manufacturers. EIAJ-1 was an open reel format. EIAJ-2 used a cartridge that contained a supply reel, but not the take-up reel. As the take-up reel was part of the recorder, the tape had to be fully rewound before removing the cartridge, a slow procedure.
The development of the videocassette followed the replacement by cassette of other open reel systems in consumer items: the Stereo-Pak 4-track audio cartridge in 1962, the compact audio cassette and Instamatic film cartridge in 1963, the 8-track cartridge in 1965, and the Super 8 home movie cartridge in 1966.
Early machines and formats
The history of the videocassette recorder follows the history of videotape recording in general. In 1952 the Vision Electronic Recording Apparatus high speed multi-track machine was built and trialled by the BBC. This machine used a thin steel tape on a 21 inch (53.5 cm) reel travelling at over 200 inches (510 cm) per second. Despite 6 years of research and improvements the machine became obsolete when Ampex introduced the Ampex VRX-1000. This model became the world's first commercially successful videotape recorder in 1956. It used the 2" Quadruplex format, using two-inch (5.1 cm) tape. Due to its US$50,000 price, the Ampex VRX-1000 could be afforded only by the television networks and the largest individual stations.
In 1963, Philips introduced their EL3400 1" helical scan recorder (aimed at the business and domestic user) and Sony marketed the 2" PV-100, their first reel-to-reel VTR intended for business, medical, airline, and educational use.
First home video recorders
The Telcan, produced by the Nottingham Electronic Valve Company in 1963, was the first home video recorder. It could be bought as a unit or in kit form for £60. However, there were several drawbacks: it was expensive, not easy to put together and could only record 20 minutes output at a time in black-and-white.
The Sony model CV-2000, first marketed in 1965, was their first VTR intended for home use and was based on half inch tape. Ampex and RCA followed in 1965 with their own reel-to-reel monochrome VTRs priced under US $1,000 for the home consumer market.
The EIAJ format was a standard half-inch format used by various manufacturers. EIAJ-1 was an open reel format. EIAJ-2 used a cartridge that contained a supply reel, but not the take-up reel. As the take-up reel was part of the recorder, the tape had to be fully rewound before removing the cartridge, a slow procedure.
The development of the videocassette followed the replacement by cassette of other open reel systems in consumer items: the Stereo-Pak 4-track audio cartridge in 1962, the compact audio cassette and Instamatic film cartridge in 1963, the 8-track cartridge in 1965, and the Super 8 home movie cartridge in 1966.
Tuesday, 15 November 2011
Case Study
Vevo was jointly owned by two major music labels, universal and Sony, and Abu Dhabi media. It has been a major force in the music video distribution- practically invisible.
All major artists on YouTube have signed deals with vevo to promote and upload their music video up on their channel.
Rio Careff, former universal executive who started the venture, explained that the industry had originally licensed its videos to far too many places. "That's good for the consumer, "he said, "but all of those places are selling the same content to advertisers."
Now though, he says, the advertisers have less choice, because the industry, through Vevo, presents a united front.
"Vevo can say to advertisers, only we can present you with 60 million video viewers in the 18-34 demographic. Ubiquity for the fan, scarcity for the advertiser is the best way to maximise the value of the content."
YouTube was officially set up for its audience, letting them upload videos without no hassle and no comments being posted about copyright terms. Since vevo has been launched audience empowerment has been taken away, the YouTube audience feel vevo has taken over their rights, taking down videos which may be copyrighted.
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