Analytics – Oh look at the numbers! PT2 Artefacts.

Artefact 1 – Short Video (MediaCityUK TimeLapse) 

So far the video has 1591 views, 122 likes and 7 comments and is on 16 playlists within YouTube.

My aim for this video (after looking at other similar videos) was to gain more than 300 views in a week.  I set up a targeted promotion schedule on Twitter and Facebook using the free version of Buffer. I targeted the tweets at local businesses in the area and production companies. This resulted in over 50 likes and 20 retweets and mentions over the week on twitter.

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As you can see from the data above taken straight from YouTube, my views were in my targeted area and effective tagging ensured my video appeared in the suggested video section of YouTube – thus gaining more views.

I believe if I kept pushing the video or/and had not made a point of it being for a university master’s degree then it would have gained even more views.

 

Artefact 2 – Remix (John Lewis Advert)

So far the video has 10,876 views which is crazy and has had more views than my other two artefacts combined. I think this is to do with both the content of the video and the time I released it. As mentioned in the blogpost  about the artefact I have exceeded the video length of a minute by quite some way, however this was important to the context of the video to be kept as close to the original as possible.

 

I released the video at 8pm only 12 hours after the original advert was released, I had a very sharp curve after about a week and the video currently features on 171 playlists in youtube and has been shared on all major social networks. As the video it was based on lost momentum over the next two weeks the views on my video also dried up. I feel that if the advert had been better or more in line with what the public were expecting than I would have had more views as a result.  Below is a breakdown by age group of the people who have watched this video.  I was surprised to see such an even male/female split as I was expecting more women to have watched the video comparatively.

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Artefact 3 – SuperCut (Leonard Cohen)

So far the video has 65 views and 5 likes, this is by far the least views any of my videos have got on this module, a large part of this is down to the fact I didn’t promote this video on any social media and left it to do its own thing.

This artefact was also longer than a minute as it had to be the length of the original song: YouTube analytics state that I had 80% of watchers stay until the last 20 seconds of the video.  I don’t think people would have clicked to watch the video if it had been less than a minute because they would know the length of the original song.

I think I was a little late to make this video as he died on the Friday and I didn’t make the video until the Sunday. It was also highlighted to me that I missed an important tag ‘tribute’ off the YouTube tags section, which means I will have missed out on some traffic.

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From the data taken directly from YouTube analytics above you can see this artefact has had a wide and diverse range of views, this has probably come from people organically searching for a video similar to mine and it either coming up in the search results or as a suggested video.

 

4 Audio & Sound Design Trends for 2017

1. Sound Editing for 360 VR & VR Video

The biggest news for the media industry right now has been the breakthrough of virtual reality and 360 degree video into the mainstream. Although tech enthusiasts and media experts have been touting the arrival of immersive, 360 degree media for several years, we’ve recently seen a number of significant milestones. YouTube and Facebook began hosting 360 videos, Adobe Premiere now supports VR editing and video stock sites have started stocking 360 media.

Of course, while there’s been a lot of emphasis on what VR means for visual storytelling, these new technologies have also meant a significant change in the way filmmakers, editors, and producers think about sound design in their projects.

An interview with animator Peter Spence about how VR and 360 degree technologies are changing the world of sound editing, he says:

“Creating 360 videos is more like a theater experience than traditional film. To steer the audience, subtle visual trikes have to be used instead of jump cups. The audio has to match that.”

Spence’s biggest takeaway for filmmakers and sound editors is that VR requires a new approach to the storytelling space:

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2. Music for YouTube and Mobile

YouTube has revolutionized the way we produce and distribute video, empowering millions of self-made filmmakers and series creators to connect with global audiences, including a brand new generation of video bloggers and YouTube influencers. Although YouTube has been a dominant player in the media industry for years, 2016 saw a number of YouTube celebrities crossing over from the small screen to the big time, with even more breakthroughs expected in 2017.

The stakes and potential opportunities of YouTube success have never been more clear. Popular YouTubers Hannah Hart and Grace Helbig recently starred in the comedy Dirty 30 while Issa Rae, creator of the popular YouTube show Awkward Black Girl, launched her new show Insecure on HBO—which has already gotten a full renewal order for 2017.

3. Rebirth of Radio

From Serial and Radiolab to How Did this Get Made? and Startup, podcasts are here to stay and only gaining in popularity. Harking back to the Golden Age of Radio, this recent re-emergence in audio-only media has highlighted the important role that sound editing plays in effective storytelling.

A podcast’s theme music is essential for branding and setting the scene, and a fitting intro provides either the emotional grip or levity that podcasters rely on when developing an initial rapport with listeners. Podcasts also employ subtler uses of sound, including foley effects and looping tracks that provide listeners with emotional cues. A rhythmic beat can build tension as the plot thickens, or a gentle musical ambience creates a clean segue between segments in a program.

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4. Blockbuster Spectacle at Indie Scale

The year’s biggest blockbusters pulled no punches, literally or figuratively, when it came to producing loud, bombastic, and dazzling spectacles. Meanwhile, the majority of the films named as likely contenders for the 2017 Academy Awards—Arrival, La La Land, or Hacksaw Ridge, to name just a few—forefront both the psychologically surreal and the spectacular.

Yet not all of these films had large production budgets. Deadpool’s budget was infamously cut by $7M at the last minute, while this year’s favourite for the comedy/musical genre, La La Land, was made for only $30M, a relatively small price tag for a major box office headliner. When producers and sound designers have to tighten their belts, stock audio sound effects and music are often one of the first places they turn.