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YouTube and TikTok Are Amping Up the Creator Monetization Arms Race
Kristin Snyder
Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
YouTube and TikTok are going head-to-head on new ways to pay their content creators.
YouTube Shorts will now incorporate an expanded array of ads on its short-form video feed, Business Insider reported Tuesday, which could potentially lead to Shorts creators receiving a cut of ad revenues. Meanwhile, TechCrunch reported yesterday that TikTok is beta-testing LIVE Subscription, a new model which allows fans to directly compensate creators.
YouTube Shorts, which previously showed limited ads from select advertisers, will now expand to ads purchased through YouTube’s main video platform. While creators won’t immediately benefit from the change, YouTube plans on analyzing the Shorts ads’ performance to determine how it will pay creators, BI reported.
Currently, YouTube Shorts’ $100 million creator fund only pays out top performers and is set to end later this year. While creators on YouTube’s main platform receive a 55% cut of ad revenues, BI reported that Shorts creators have thus far found monetization difficult.
"The Shorts Creator fund isn't anywhere near large enough to incentivize larger creators to stick around or generate unique content for the platform,” Shorts creator Nicholas Crown told the publication. “Without ad rev sharing, creators generating millions of impressions on Shorts often make pennies from the occasional pre-roll ad that runs through AdSense on a Short.”
TikTok’s LIVE Subscriptions, on the other hand, will give creators on the video-sharing platform a chance to earn direct payments from fans, while giving paying subscribers access to exclusive chats, emotes and badges. The feature will launch with select creators on Thursday, TechCrunch reported; while pricing has not yet been announced, LIVE’s is believed to be “comparable” to livestreaming platform Twitch’s $4.99 monthly subscriptions. Instagram is currently testing a similar creator subscription model.
With TikTok and YouTube stars gaining popularity, both companies are seeking to offer new monetization models that would keep those creators on their platform. Social media influencers, for their part, have looked to spread their content across multiple platforms—as evidenced by Snap poaching TikTok stars for its own original content. In turn, both Culver City-based TikTok (which is owned by Chinese tech firm ByteDance) and Santa Monica-based Snap have introduced new ad revenue initiatives for creators this year.
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Kristin Snyder
Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.
https://twitter.com/ksnyder_db
Spotter Raises $200 Million To License YouTubers’ Old Videos
05:46 PM | February 16, 2022
Photo by Wachiwit/ Shutterstock
Bruce Springsteen and Sting are not the only artists these days making millions of dollars from their content catalogs: YouTube stars are monetizing their libraries, too.
Since launching in 2019, Los Angeles-based startup Spotter has spent $350 million to license YouTubers’ back catalogs—providing creators with cash up front in exchange for their videos’ advertising revenues. But whereas musicians like Springsteen and Sting have cashed in on their catalogs as an exit strategy, YouTube creators can use Spotter to get the money they need to further grow their brands. And if they succeed, that only makes Spotter’s investment in them even more valuable.
“If we can give creators money that's on an accelerated basis, that's enough to be game-changing at whatever part of their journey they're in,” Spotter founder and CEO Aaron DeBevoise told dot.LA. “They're going to win at such a big level that everyone's gonna win.”
On Wednesday, Spotter announced a $200 million Series D funding round, led by investment giant SoftBank, that values the firm at $1.7 billion. (The company had previously raised $555 million across three previous, undisclosed funding rounds, it said.) In addition to Softbank, Spotter's investors include Access Industries, CoVenture, Crossbeam Venture Partners, GPS Investment Partners and HighPost Capital.
Spotter founder and CEO Aaron DeBevoise.
The company is hardly alone in making a huge bet on the creator economy. Brands are expected to spend $15 billion on influencer marketing this year, according to research from CB Insights. Tech giants and startups alike are spending prolifically to lure creators, ramping up payouts or letting them put content behind a paywall. That jockeying comes as creators with massive followings look for a bigger slice of the revenue pie.
Spotter contends that its model gives YouTubers a way to capitalize on their work quickly without adding debt or losing equity. The startup licenses the advertising revenue rights to creators’ previous uploads for a usual duration of around five years; Spotter has paid creators anywhere from $15,000 to $40 million for their ad rights, according to DeBevoise, who noted that the average deal is worth about $1.5 million.
The idea of YouTube catalogs as lucrative assets has quickly gained ground. Last month, creator economy company JellySmack announced it would spend $500 million on licensing YouTubers’ libraries.
Spotter has already struck deals with some of YouTube’s biggest creators including MrBeast, Dude Perfect, Like Nastya, Aphmau, and Smokin' & Grillin' wit AB. The company said it has licensed hundreds of thousands of videos that generate more than 40 billion viewing minutes per month.
“If these videos that [creators have] created over time are predictable enough to finance, they can really scale and grow their brands a lot more than the current monetization offerings allow them to do,” DeBevoise said of the idea behind his business.
YouTube star MrBeast, for example, used the capital he received from Spotter to fund his Spanish-language YouTube channel. According to Spotter, MrBeast—whose real name is Jimmy Donaldson—has increased his total viewership by roughly 300%, to 1.35 billion monthly views, since its funding allowed him to expand his content’s language offerings.
“The cost of dubbing is expensive and the revenue on YouTube is delayed—you don't get it instantly,” Donaldson said in a statement. “By partnering with Spotter, I was able to keep dubbing videos and uploading.”
Spotter plans to use its new funding to buy more rights to YouTube videos. The company expects to invest another $650 million on back catalogs over the next 18 months, taking its total spent to $1 billion.
Early on, DeBevoise said Spotter had to overcome concerns from some creators who thought they would be giving up all of their monthly ad revenues; in turn, the company would note it had data showing that most ad revenue comes from new uploads. Spotter now wants to enhance its data analytics offerings to give creators insight into the value of their libraries and ideas on how to improve performance.
“Before it was really ‘Hey, can we get people to believe that this transaction is a good economic deal?’” DeBevoise said. “Now it's, ‘How do we move from being thought of as a transaction to a partnership?’”
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Christian Hetrick
Christian Hetrick is dot.LA's Entertainment Tech Reporter. He was formerly a business reporter for the Philadelphia Inquirer and reported on New Jersey politics for the Observer and the Press of Atlantic City.
CrowdStrike CEO Says He Regrets Not Firing People Quicker
03:10 PM | March 04, 2020
Ben Bergman/dot.LA
George Kurtz, co-founder and CEO of the cloud-native endpoint security platform CrowdStrike, says executives should be obsessed with culture. Everyone below him must be fanatical about customer success and outcome and if they aren't fitting in, they need to go quickly. It's one of the biggest lessons he's learned as CEO.
"Not one time have I regretted firing someone too fast," Kurtz told a lunchtime crowd at the first day of the Montgomery Summit in Santa Monica. "It's that I waited too long."
Kurtz founded the company in Sunnyvale, CA, in 2011 and it went public last year. He was joined on a panel by John Chambers, the former executive chairman and CEO of Cisco Systems, who said he bought 180 companies during his tenure. But he did not acquire a company that was not a very close cultural fit.
"I walked on one of the bigger acquisitions we were going to do," Chambers said. "Culture is as important as strategy and vision and I did not understand that when I was a young CEO."
Chambers said he was proud of Cisco's 95% employee retention rate when he was CEO, which is well above the industry average. He oversaw a rigorous hiring process to make sure candidates were right.
"If you're not interviewing through 10 people, you're not doing the screening process properly," Chambers said.
If an executive wanted to jump to a competitor, he would try to find out what was at the root of someone's unhappiness. The number one factor: Dissatisfaction with their immediate supervisor.
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Ben Bergman
Ben Bergman is the newsroom's senior finance reporter. Previously he was a senior business reporter and host at KPCC, a senior producer at Gimlet Media, a producer at NPR's Morning Edition, and produced two investigative documentaries for KCET. He has been a frequent on-air contributor to business coverage on NPR and Marketplace and has written for The New York Times and Columbia Journalism Review. Ben was a 2017-2018 Knight-Bagehot Fellow in Economic and Business Journalism at Columbia Business School. In his free time, he enjoys skiing, playing poker, and cheering on The Seattle Seahawks.
https://twitter.com/thebenbergman
ben@dot.la
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