Why 97 percent of YouTubers need to have a day job?

 

Millions of people are dreaming of making a career on YouTube. At the moment, only 3 percent of them are getting a decent amount of money, the rest need to find a living elsewhere. For them, Screenist might just be the right option.

Did you know that roughly 300 hours of videos get uploaded to YouTube every minute? Almost 5 billion videos are viewed every single day, which means that YouTube gets over 30 million daily visitors. Those are seemingly huge numbers, but can YouTubers can make a career out of it?

However, it's not at all easy to turn success into banknotes. According to a survey by Information is Beautiful, content creators only made $1,472 after 2.2 million video views in 2017. It’s not getting much better this year either: the video streaming platform paid a paltry $0.00074 per stream in 2018, Trichnordist noted.

More than 97 percent of content creators need to rely on the small amount of cash from clicks while missing all the revenue opportunities the big ones enjoy. Thanks to Screenist, millions of additional players could appear on the product placement market, generating profit on the widest scale. So, YouTubers get a brand new revenue model, meaning that being self-employed can truly be an option for social media influencers.


“It was the birth of the perfect product placement” - Tibor Jakab CEO of Screenist

Screenist CEO Tibor Jakab
Screenist CEO Tibor Jakab

Screenist makes professional product placements available for small enterprises,  while giants get a chance to explore even bigger, more accurately targeted markets - and the average user is pleased to be able to obtain anything they see on the screen. But where does the dynamically growing Hungarian startup behind the app come from? CEO Tibor Jakab shares the story.

The idea

“The movie Constantine came out in 2005, where actor Keanu Reeves - in the role of John Constantine - is wearing a watch. One if my friends really liked this watch, and wanted to have it for his birthday. His mother agreed to get it if we manage to find it: so we began to hunt for the watch” -Tibor Jakab talks about the early days. - It was not easy to find stuff back then, as we couldn't just google it back in the days. Digital advertising and product placement was a far cry back then from what it is now. I can recall that my friend, the future owner of the watch even pointed out how cool it would be if we could just check it on a teletext page what the main character of each movie is wearing.”

[Oris Modern Classic] as worn by Keanu Reeves in Constantine (2005), and now me thanks to my better half. from r/Watches

Well, in the end, we managed to get the watch - an Oris Big Crown - and soon the first advertisements came in, too. It was the perfect product placement.

As a founder of Synaptel, a company focused on mobile developments, Tibor revisited the idea of having an app that makes finding and ordering stuff we see on the screen easy online. In 2011 though,  technology was not quite there yet: 3 or 4Gs we're not yet a thing, bandwidth used to be pretty low at the time, and mobile phones were not yet able to provide the necessary hardware-background for such an application either.

The beginning

By the end of 2014, some pretty good mobile devices finally entered the market, and that was the point when research development really began on the perfect product placement solution. Tibor and his colleagues were quick to realize that object recognition is a dead end street,  as it was something not even giants like Google and IBM manage to work with. Seems like even though an artificial intelligence of some kind is able to recognize an object, exact details of the products are not yet available.

It seemed obvious that QR-codes,  which was pretty much catching up at the time - should be involved in one way or the other, but several tests proved that this is not the solution either.  “We talked about using specific screenmarkers, and the problem was given: how to be there between the broadcaster and the content provider then? This solution would have made us needless, thus killing the business model” - the CEO recalls the early days. After selling his previous company in 2012, he was ready for a fresh start with a successful exit and plenty of experience in building a business.

“As a new technology, blockchain proved to be a key in this process. Thanks to this revolutionary technology, we are able to offer jobs to thousands of people all over the world, while both the workflow and billing remain perfectly transparent. This transparency is precisely what makes it easy for everyone - for people working for us as well as for our partners - to follow the processes taking place at Screenist” - Tibor adds.

 

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The team

“I can't even recall how many times we've heard the term “it's not possible” throughout the process. That's while I like the Google-book, as when they launched the company back in 1998 in order to “gather all the information available in the world and make it available for everyone”, everyone laughed at them, saying it was not possible,  or they need at least 30 thousand years for that. As a person who does not like to put up with no, I was certain we would eventually reach our goal” - Tibor says with a smile.

The team of Screenist is the result of a very conscious structuring: people working for the company really know what they are doing. “I believe in hardworking,  goal-oriented people who do their thing in a professional way. I'm not a friendly boss, I do not play the role of a multinational company with my own money. In this chair of the director, my task is to represent the investors. I want their investment to make the profit, not expenses” - the CEO sums up his call. And considering that there is a 1 million dollar investment behind Screenist, it's easy to share his view.

Screenist has just left behind the stealth mode and switched to the communicative mode instead.  Community building began, and a number of new potential investors came in the picture. Sign up for the company’s newsletter, and join the team in the Telegram-group “Hello Screenist”.


Artificial intelligence analyzes movie trailers to maximize profit

Film Studio 20th Century Fox is analyzing its trailers to predict what sort of audience a movie would potentially attract. This way producers have an idea of what type of movies they should make, and advertisers can find the most suitable target groups, too.

The new system developed by Fox is examining each trailer frame by frame, then adds labels to each object and event, only to compare this to data generated for other trailers. Based on these labels, it’s easy to predict what type of audience a certain set of label would attract by utilising artificial intelligence .

Seems like film studios prefer to be in full control of the effect of the content they make, and now they have all the necessary tools for it. However, this is also an important piece of information for advertisers, who need to know what kind of movies their potential customers enjoy, and what are the key scenes they like.

With Screenist, it's easy for a brand to promote their product: they just need to find the movie their target audience likes the most, and team up with Screenist to be a part of the virtual store for the entire world.

 

The advantages of product placement are not reserved for the big players anymore, Screenist makes e-commerce transparent and efficient for everyone.


In memoriam Stan Lee - Great and not so great product placements in Marvel-movies

Source: wikipedia.org

Stan Lee, the editor-in-chief of Marvel Comics and the mastermind behind iconic comic characters like X-Men, Ironman, Spiderman or Hulk passed away on 12th November. He was almost 96.

The movies linked to the characters are exciting examples of perfect… and well, not so great product placements.

X-Men: Apocalypse (2016) is the latest X-Men movie, with the following brands in the foreground:

  • Jaguar
  • Coca-Cola
  • Oldsmobile
  • Rush
  • Ray-Ban

The first two Spiderman movies received pretty good reviews from critics, while the third film in 2007 was less of a success. The product placements we're nevertheless memorable:

  • Audi
  • Ford
  • Dell
  • Jansport backpacks
  • Sony

And what about the Incredible Hulk? Well, bad product placement is a thing, and according to critics, Hulk-movies are famous for it. It's not so much the weird appearance of Norton360, but more the mattress business involved… In 2008, Sleepy's Mattress Professionals decided to join forces with Hulk to educate people about the importance of good mattresses, the only problem being that Hulk is a character who does not sleep…



Screenist: The (R)evolution of Product Placement

Admit it. We all hate ads, right? We bump into one on tv, and leave the room right away and grab a beer. True. Most of us are “banner-blind” when browsing the net, and we even skip the 30-second spots before videos, if those are not banned altogether. But then what’s the proper way to approach the average consumer, and make them even grateful for the chance of learning about a new product? The key lies in product placement - something that is already so much more than what it used to be.

Let’s just take a look at the history of Product Placement. It’s not a 20th-century idea, and it’s not even linked to motion picture: when Jules Verne published the novel Around the World in Eighty Days in 1873, shipping companies were lobbying to be mentioned in the story, whereas the first Hollywood-movie with a Hershey-bar was Wings in 1927.

In the beginning, during the era of silent movies in the 1920s, the logos of certain products or later the products themselves appeared in the background solely to make the story more realistic, to make spectators believe that whatever they see on the screen is true. “This whole thing is happening right here, right now, and she is using the exact same washing gel you do” - this was the message these flashes sent. This was the era of passive product placements with not much of a business-mind behind the logos and the products in the background.

It didn’t take too long to notice that drinks and cigarettes linked to Hollywood-stars are the most attractive items for spectators, and those few-second-long flashes definitely shape consumer attitude a great deal. By the beginning of the 60’s, a complete industry was built around product placement. First the aim was simply to enhance brand recognition by showing the item as often as possible, but the next step was already about the conscious integration of the product into the storyline: the item is an integral part of the script at this stage, it can even be the essence of character, like Omega watches in James Bond-movies, or a bottle of Tuborg in our Danish comedy Olsen-band.

Product placement in films, source: YouTube

 

By the beginning of the 2000’s, it became clear that not only the product but the brand could also be integrated into the story, which led to a number of hilarious scenes as it’s obvious that this type of image building does not always sit well with the artistic concept. Movies like The Internship, celebrating the corporate culture of Google received plenty of rotten tomatoes, whereas Red Bull’s famous Project Stratos was a huge success. Nowadays an agency behind a top-notch production is pleased if the production team and the brand manage to co-operate in such a way that the brand and the product linked to the brand is woven into the storyline in a creative way, while the spectator-consumer is happy to get high-quality, value-driven, exciting content. Something they have a great time watching, reading, something they can relate to.

We are talking a huge market: in the US, companies spend 67 billion dollars on advertisement every year. According to a survey by PQ Media, the product placement-market grew by 13.7 percent in 2017. These numbers are expanding rapidly: in 2012, companies spent 4.75 billion dollars on product placement, while this number is expected to reach 11.44 billion by 2019.

And what about efficiency? A 2017 survey interviewed Americans only to find out that 77 percent of them know what product placement is, and 80 percent of those asked are influenced by it in one way or the other.

Sounds good, right? The only problem is that the highest level of product placement - as that’s what we are talking about here - is only available for the lucky few: you need a professional sales-team, a creative team, and tons of money to make it work. No wonder that only some 3 percent of YouTube-vloggers make decent money in the 4 or even 5 figure range: content creators on a budget have no chance to work with a team of this caliber, thus they obviously make less money as a result.

 

At least that’s how it used to be: Screenist makes high quality, premium product placement available for basically anybody.

The cool thing about Screenist is not just the fact that it transforms a viewer into a consumer, offering them the gift of impulse-purchases in the online world where it was previously an unknown concept, but it also opens new gates for advertisers: information based on big data show them the best conversion, and the video ads bidding system based on blockchain takes the consumer to the webshop offering the most for the given product placement.

This revolutionary change previously unknown to the world of advertisement not only has the chance to make product placement more cost-efficient but thanks to the better conversion, may also reach a wider audience. This way, it's easy to introduce a given product even to YouTube or Instagram users - and all they need to do is click to purchase the object of their dreams, even as an impulse.

The Screenist blockchain technology transforms the way people buy and sell

This is how an idea - merely serving to make the content appear more realistic - turns into the world's coolest online store… and perhaps the best part is that it's available for anyone, and you don't even need billions of dollars for that.