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Welcome, Marina!

August 27, 2014 Orchard News No Comments

MarinaSans_TheNationalIntroducing Marina Sans, Video Services Account Coordinator, Spain & Portugal

Hi everybody! My name is Marina and it’s a huge honour to be joining The Orchard team as Video Services Account Coordinator for Spain & Portugal. I was born and raised in Terrassa, a small city near Barcelona (Spain), where I attended university to study a degree in Business Management.

After working in the financial sector for about 2 years, I decided to jump into the awesome but also challenging music industry. I had the chance to become part of the Primavera Sound festival organization team in Barcelona a few months ago, which was an experience that led me to pursue a career in the music industry even more (here’s a pic of me with Matt Berninger from The National, who I met at the festival). And here I am!

Pop-Rock bands are my favourite and in my free time I love attending festivals and concerts, discovering new music and TV series to be hooked on, traveling, going out with my friends and spending time with my dog.

A Little Bit (But Not Too Much) About Album Trailers

Coming Soon

There are a lot of little things we can do to help our clients get the word out about their music. We build splash pages, optimize social profiles and make sure they’re posting the right things at the right times. Lately, we’ve also been encouraging our clients to really embrace the use of album trailers across all socials, but particularly on Facebook and Instagram.

Album trailers provide the opportunity for fans to sample a clip of new music and learn basic information about a new release while they’re scrolling through their feed (which, let’s be honest, they’re doing all day anyway). Facebook doesn’t have a specific time limit for videos, but we’ve found that trailers between 15 and 30 seconds do best. When uploaded natively (as in not shared from another network), videos auto-play in the Facebook news feed as users scroll by. This catches the eye and leads to noticeably higher engagement rates. Similarly, Instagram video lends itself perfectly to album trailers. The 15 second time limit allows just enough time to get the message across without giving too much away, and the ability to choose a cover image allows the creator to feature a still image conveying information without requiring the user to play the full video.

One of the best things about album trailers is how easy (and in my opinion, kind of fun) they are to make. We often use a service called Animoto to create trailers for our clients. Animoto is great because they’ve created a simple and straightforward interface that uses a super secret original algorithm to sync a small deck of images and title cards with a song clip of your choosing. This means that when the music changes, the image changes — automatically. The only downside to Animoto is that you gain simplicity at the cost of some control. But not to worry — we can easily put together completely customizable trailers using basic music and video editing programs and a little bit of Photoshop magic.

Whether you’re putting out a full length album, music video or even a single, trailers are a great way to let your audience know something’s coming and they should start getting excited about it.

“It’s not TV. It’s Netflix.”

Rotisserie Chicken: An Original From NetflixWill 2014 be a turning point in the “battle for screen time?” 

Amazon Studios announced its new slate of series orders from their unique, popular vote-driven pilot process last week — and while Netflix and Hulu took a more casual approach to unveiling their latest batch of original content, the user reviews for April Fools release “Rotisserie Chicken” so far are decidedly mixed: “[Two stars] A sophomoric effort. Poor use of thyme. Poorly conceived denouement, with a narrative arc which goes nowhere. Could use more garlic.” But in what’s become tech-giant tradition, this blend of creative marketing and disruptive instinct belies the level of investment in the multi-billion dollar war being waged over one of the 21st century’s most competitive commodities: consumer attention in a fragmented media landscape.

Just three years ago, all the major streaming competitors in what Hulu’s head of content Andy Forssell calls “the battle for screen time” were on the ropes (or in the case of Amazon, hadn’t even entered the ring yet). Netflix’s shift to streaming seemed terminally botched by its “Qwikster” debacle, Hulu was up for sale (and struggling to fetch anywhere near its asking price), and while YouTube was seeing impressive traffic for its original content, monetizing those views was proving difficult as marketers became disillusioned with the value of Pre-Roll ads.

Flash forward to 2014 — Netflix is nominated for 14 Emmys (winning 3) and tops 31 million subscribers (HBO, by comparison, has 29 million), Hulu‘s parent companies (Fox and Disney) have taken down the “For Sale” sign and doubled-down with a $750M investment in the streaming service’s future, and Amazon Prime has been growing so rapidly that new sign-ups had to be capped during peak periods of December 2013 to avoid exceeding their operational capacity. Perhaps more tellingly, YouTube and other online outlets are crashing the Upfronts – a week of presentations by broadcast TV executives to all the major advertising clients — using the industry’s own Nielsen data against it with an aggressive pitch that more 18-34 year olds (49% of the total demo) can be reached through advertising on their online platforms than on the most popular FX (45%), TBS (44%), Comedy Central (41%) or AMC (40%) broadcast packages.

Numbers like these engender a great deal of confidence in the future of streaming, and the larger trends in consumer behavior are unmistakable: streaming is here to stay, and content is still king regardless of platform. For decades, studios and broadcast networks have spent billions on preserving artificial restrictions on consumers — from appointment television to 90-day holdbacks from theatrical release on VOD/DVD/Digital sales — so seeing billions invested on tearing down these barriers and maximizing consumer choices is thrilling, regardless of the outcome.

To Monetize or Not to Monetize… It’s Not Even a Question!

money_fallingA question we’re often asked in the YouTube realm is whether it’s better to block or monetize user-generated content (UGC) in order to optimize an official music video. When UGC is being monetized, it means that a claim has been applied on behalf of a copyright holder who can now see stats and collect revenue on that video, while a block would make that video unviewable. In the vast majority of cases, our answer is “monetize,” and here’s why:

UGC videos help people discover new music. A viewer might see a random cat video, hear your song in the background, and just like that — you’ve got a new fan! If the only option for a viewer is an official video on an artist’s YouTube channel, he is far less likely to stumble upon your awesome track. Consider UGC like free promotion, which can have a positive impact not only on your YouTube business, but on your sales as well.

UGC can be incredibly entertaining and provides viewers a greater variety of videos to watch. We know the official music video is awesome, but viewers will only watch it so many times. UGC can offer a new and refreshing option to hear that same song time and time again.

Let users express their fandom. Users often use the audio of bands and artists they love in their videos. It’s only natural! Encourage them to share their love for you by allowing their videos to remain viewable. It’ll mean both a wider presence and a happy fan — win/win.

UGC and official videos can coexist to result in more revenue than one video alone. In most cases, a UGC video is a supplement to an official video, not a replacement. The likelihood of UGC detracting from your views is generally higher only when there’s an exact replica of your video — and these can always be addressed on a case-by-case basis.

Next time you’re weighing the pros and cons of monetizing UGC using your audio, think about that song or artist you discovered while watching a YouTube Fails compilation, or that guilty pleasure proposal video you sent to all of your friends and coworkers on Monday morning.

Welcome, Ari!

February 12, 2014 Orchard News No Comments

 Cohen_AriIntroducing Ari Cohen, Coordinator, Entertainment Acquisitions

Hi everyone. I’m based out of our Los Angeles office and have joined The Orchard as the Entertainment Acquisitions Coordinator in the Video/Film department. I began working here part time shortly after graduating from UCLA.

I lived in Santa Barbara prior to moving to Los Angeles. I’m an avid tennis player and runner. I also write screenplays and go to stand-up comedy shows during my free time. I’m a fan of The Office and Breaking Bad and my favorite movie from 2013 was Gravity.

Looking forward to the year ahead!

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The Orchard is a pioneering music, video and film distribution company and top-ranked Multi Channel Network operating in more than 25 global markets. Founded in 1997, we empower businesses and creators in the entertainment industry.

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