YouTube

Twitch continues to dominate live streaming with its second-biggest quarter to date

Posted by | esports, Facebook, facebook gaming, game streaming, Gaming, live streaming, Media, microsoft mixer, streamelements, streaming video, Twitch, YouTube, YouTube Live | No Comments

Twitch continues to lead rivals including, YouTube Live, Facebook Gaming and Microsoft’s Mixer, when it comes to live-streaming video. Despite experiencing its first decline in hours watched in Q2 2019, the Amazon-owned game-streaming site still had its second-biggest quarter to date, with more than 70% of the hours watched during the quarter.

According to a new report from StreamElements, Twitch viewers live-streamed a total of 2.72+ billion hours in Q2 — or 72.2% of all live hours watched — compared with 735.54 million hours on YouTube Live (19.5%), 197.76 million on Facebook Gaming (5.3%) and just 112.29 million hours (3%) on Mixer.

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Combined, the total hours watched across all four platforms was 3.77 billion in Q2.

While none of Twitch’s rivals are nearly catching up, YouTube Live did have a good month in May, breaking its own record with 284 million hours watched. Overall, YouTube Live’s hours watched improved in Q2 as a result, while Twitch saw a slight decline.

Facebook Gaming is also gaining steam. It’s now the third-biggest live-streaming platform, having passed Microsoft Mixer.

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Despite its traction, Twitch doesn’t have much of a long tail when it comes to stream viewership. That’s a problem it has faced for some time, as newcomers complained they spent years broadcasting to no one in hopes of gaining a fan base, with little success. Twitch has tried to remedy this problem with various educational efforts as well as product features like Raids and Squad Streams, for example.

However, the new report finds that the majority (almost 75%) of Twitch’s viewership still comes from people tuning in to the top 5,000 channels. Out of the 2.7 billion hours watched in Q2, these top 5,000 channels drove 2 billion of those hours watched.

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In addition, the average concurrent viewership (viewers watching at the same time) of the top 5,000 channels increased by 12% in Q2 2019, compared with Q1. The top 200 channels have the highest concurrent viewership with 10,590 people watching together, on average.

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Also in the quarter, viewership of top titles like Fortnite, League of Legends, Dota 2 and Counter-Strike: Global Offensive declined, while vlogging — aka “Just Chatting” — grew, along with other titles.

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Esports, meanwhile, still draws big numbers, but represents only a small slice of the overall pie.

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The full report, which takes a look at other trends, including which streamers are gaining and losing popularity, is available here.

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YouTube lands on Fire TV and Amazon Prime Video arrives on Chromecast, Android TV

Posted by | Amazon, Amazon Fire TV, Android, Android TV, Apps, chromecast, Cube, Gadgets, Google, Media, Multimedia, prime, prime video, smart tv, streaming, streaming video, TC, technology, telecommunications, YouTube | No Comments

It’s nice when people can come together and work through their differences to make it easier to watch stuff. That’s exactly what happened today, when the long-standing detente between Google and Amazon over streaming video services came to an end, with YouTube arriving on Fire TV and Prime Video making its way to Chromecast and Android TV.

Amazon’s second-generation Fire TV Stick, their Fire TV Stick 4K, the Fire TV Cube, Fire TV Stick Basic Edition and Fire TV Edition smart TVs made by partner OEMs will all get support for the official YouTube app globally starting today, and Amazon intends to extend support to even more of its hardware in the future. YouTube TV and YouTube Kids will also come to Amazon Fire TV devices later this year.

On the Google side, both its own Chromecast devices, as well as partner TVs and hardware that support Chromecast built-in, or that run Android TV, will gain support broadly for Prime Video. Plus, any Chromecast Ultra owners will also get access to Prime Video’s 4,000-title library normally reserved for Prime members, at no additional cost, as part of the new tie-up between the two companies.

Prime has been available on some Android TV devices to date, but it’s expanding to a much broader selection of those smart TVs and streaming boxes from today.

This has been a long time coming — several years in fact, with the most recent spat between the two coming as a result of Amazon’s implementation of YouTube on the Echo Show. Then, in May, the companies announced they’d reached an agreement to put the feud behind them in the interest of consumers, which is what resulted in this cross-platform launch today.

Let the streams flow!

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YouTube confirms a test where the comments are hidden by default

Posted by | App, comments, Media, Mobile, Social, test, YouTube | No Comments

YouTube’s comments section has a bad reputation. It’s even been called “the worst on the internet,” and a reflection of YouTube’s overall toxic culture, where creators are rewarded for outrageous behavior — whether that’s tormenting and exploiting their children, filming footage of a suicide victim, promoting dangerous “miracle cures” or sharing conspiracies, to name a few high-profile examples. Now, the company is considering a design change that hides the comments by default.

The website XDA Developers first spotted the test on Android devices in India.

Today, YouTube’s comments don’t have a prominent position on its mobile app. On both iOS and Android devices, the YouTube video itself appears at the top of the screen, followed by engagement buttons for sharing, liking, disliking, downloading and saving the video. Below that are recommendations from YouTube’s algorithm in a section titled “Up Next.” If you actually want to visit the comments, you have to scroll all the way to the bottom of the page.

In the test, the comments have been removed from this bottom section of the page entirely.

Instead, they’ve been relocated to a new section that users can only view after clicking a button.

The new Comments button is found between the Thumbs Down and Share buttons, right below the video.

It’s unclear if this change will reduce or increase user engagement with comments, or if engagement will remain flat — something that YouTube likely wants to find out, too.

On the one hand, comments are hidden unless the user manually taps on the button to reveal them — users won’t happen upon them by scrolling down. On the other hand, putting the comments button behind a click at the top of the page instead of forcing users to scroll could make them easier to access.

As XDA Developers reports, when you’ve loaded up this new Comments section, you can pull to refresh the page to see the newly added comments appear. To exit, you tap the “X” button at the top of the window to close the section.

While it reported the test was underway in Android devices in India, we’ve confirmed it’s also appearing on iOS and is not limited to a particular region. That means it’s something YouTube wants to test on a broader scale, rather than a feature it’s considering for a localized version of its app for Indian users.

The change comes at a time when YouTube’s comments section has been discovered to be more than just the home to bullying, abuse, arguments and other unhelpful content, but also a tool that was exploited by pedophiles. A ring of pedophiles had communicated through the comments to share videos and timestamps with one another.

YouTube reacted then by disabling comments on videos with kids. More recently, it’s been considering moving kids content to a separate app. (Unfortunately, it will never consider the appropriateness of having built a platform where young children can be put on public display for the whole world to see.)

A YouTube spokesperson confirmed the Comments test, in a statement, but downplayed its importance by referring to it as one of many small experiments the company is running.

“We’re always experimenting with ways to help people more easily find, watch, share and interact with the videos that matter most to them,” the spokesperson told TechCrunch. “We are testing a few different options on how to display comments on the watch page. This is one of many small experiments we run all the time on YouTube, and we’ll consider rolling features out more broadly based on feedback on these experiments.”

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Tesla’s in-car touchscreens are getting YouTube support

Posted by | Android, automotive, cars, e3 2019, electric vehicles, Elon Musk, in-car navigation, Louisiana, Media, streaming video, TC, Tesla, tesla model 3, Tesla Model S, YouTube | No Comments

Tesla has consistently been adding software to its in-car touchscreen infotainment displays — including sometimes things that probably leave a lot of people scratching their heads. During a special Q&A today at annual gaming event E3 in LA, Tesla CEO Elon Musk revealed that Tesla’s in-car display will support YouTube someday soon.

This isn’t the first time the Tesla CEO has suggested YouTube might one day have a home in the company’s cars: In response to a fan’s question on Twitter last August he noted that version 10 of the company’s in-car software would provide support for third-party video streaming. The company debuted its Software Version 9.0 last year.

Musk specifically said YouTube would be coming to cars during the E3 event today, at which he revealed that Bethesda’s Fallout 3 would be coming to the infotainment displays, and unveiled a demo video of Android game Beach Buggy Racer running on a display in a Tesla Model 3.

On a recent podcast, the Tesla CEO also said the company would consider opening the platform more broadly to third-party developers for both apps and games. The company has done a lot on its own to add software “Easter Eggs” to the dash display, but turning it into a true platform is a much more ambitious vision.

On its face, adding to a car attention-heavy apps like streaming video services definitely seems counterintuitive, but to be fair to Tesla, a large number of drivers today use their phones for in-car navigation and those can also all technically display YouTube at any time. It does seem like a case of Musk’s mind racing ahead to a day when his cars are fully autonomous, something he recently reiterated he expects to happen within the next couple of years.

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YouTube will let bigot monetize if he removes link to homophobic merch

Posted by | Apps, Entertainment, Media, Mobile, Opinion, Policy, Social, TC, WTF, YouTube | No Comments

YouTube has made the weakest, least courageous response to mass backlash regarding its ruling yesterday that right-wing personality Steven Crowder’s racist and homophobic attacks on Vox video producer Carlos Maza didn’t violate its policies. Now YouTube says it’s demonetized Crowder’s channel because his “pattern of egregious actions has harmed the broader community” …but it will restore Crowder’s ability to earn a cut of YouTube ad revenue as long as he removes the link in his videos/channel to his offensive merchandise shop and fixes “all of the issues” with his channel. Specifically, Crowder’s shop sells [Warning: disturbing language not condoned by TechCrunch] “Socialism is for f*gs” t-shirts, baby onesies and beer-pong cups.

[Update: In the wake of this article and YouTube’s focus on his homophobic slur shirts, Crowder has removed the hateful merchandise from his store.]

The unwillingness to remove Crowder from YouTube counters the frequent calls by conservative politicians and pundits that they’re discriminated against on social media. Instead, it seems YouTube is too scared of being called bias to do what’s right and enforce its policies that dictate Crowder’s content or whole channel be removed. And even if Crowder does make YouTube’s required fixes, which it’s yet to publicly detail, he can still toe the line of its hate speech policies while promoting his merchandise shop within his videos.

To clarify, in order to reinstate monetization on this channel, he will need to remove the link to his T-shirts.

— TeamYouTube (@TeamYouTube) June 5, 2019

Sorry for the confusion, we were responding to your tweets about the T-shirts. Again, this channel is demonetized due to continued egregious actions that have harmed the broader community. To be reinstated, he will need to address all of the issues with his channel.

— TeamYouTube (@TeamYouTube) June 5, 2019

YouTube needs to completely rethink its approach to policy and enforcement here. Otherwise it’s likely to embolden harassers and bigots across the internet.

For those just stumbling into this social media policy dumpster fire, Canadia-American conservative commentator Crowder publishes politically inflammatory videos to his 3.8 million YouTube subscribers. They often include hosting bad faith “debates” with those who disagree with him, where he uses twisted rhetoric, aggression and obstinance to goad guests into getting angry so he can paint them as crazy and wrong. He’s also known for targeting specific media figures with verbal abuse, which leads his followers to harass them in en masse.

In this case, Crowder called Vox’s Maza a “gay Mexican” and “lispy queer,” amongst other hate speech-laden taunts across multiple videos. Last week Maza compiled a viral Twitter thread detailing the abuse and imploring YouTube to enforce its policy that bans hate speech and harassment.

Yesterday, YouTube tweeted its confusing and contradictory ruling from a review of Crowder’s videos. “While we found language that was clearly hurtful, the videos as posted don’t violate our policies . . . As an open platform, it’s crucial for us to allow everyone–from creators to journalists to late-night TV hosts–to express their opinions w/in the scope of our policies. Opinions can be deeply offensive, but if they don’t violate our policies, they’ll remain on our site . . . Even if a video remains on our site, it doesn’t mean we endorse/support that viewpoint.”

That makes zero sense considering YouTube’s policy expressly forbids this kind of content, and says it will be taken down. YouTube specifically bans content that’s deliberately meant to “humiliate someone,” that includes “hurtful and negative personal comments/videos about another person” or features hate speech regarding “ethnicity” and “sexual orientation.” Crowder’s content violates all of these rules, and so consistent enforcement would require its removal.

That’s why the public momentarily applauded today when YouTube announced that it suspended Crowder’s monetization. This still fell far short of what YouTube’s policies dictate, but it at least meant that Crowder couldn’t monetize his YouTube views directly, even if he could still promote his merchandise, live events and Patreo-paid subscription page. Then the internet got rightfully mad again when YouTube said he just had to remove the link to his homophobic t-shirt shop to regain monetization, given he could just promote the shop in his videos while still benefiting from his YouTube reach.

And then just as this article was published, YouTube made yet another flip-flop and apologized for all the confusion (that it caused by waffling). It now claims that “this channel is demonetized due to continued egregious actions that have harmed the broader community. To be reinstated, he will need to address all of the issues with his channel.” Yet YouTube did not respond to a request for details about exactly what must be changed.

At least in the wake of this article and YouTube’s insistence he delink offensive merch from his channel, Crowder has removed the “Socialism is for f*gs” merchandise from his shop. But he’s sure to find new ways to stoke his hateful base while avoiding a full YouTube suspension.

Crowder repeatedly links his YouTube channel and videos to his merchandise shop selling shirts featuring homophobic slurs

It’s tough to even know where to begin criticism of YouTube’s behavior here:

  • YouTube ignored Crowder’s abuse of Maza and others for years while earning money from a hateful audience
  • It only took a closer look after Maza’s thorough exposé on abuse from Crowder received 20,000 retweets and got media attention
  • YouTube claimed that “while we found language that was clearly hurtful, the videos as posted don’t violate our policies,” despite clearly violating its policies
  • The company had the gall to put out a blog post about its “ongoing work to tackle hate” without any reference to the Maza situation
  • A day after saying he didn’t violate policy, YouTube reversed itself and claimed Crowder did violate policies; however, he’s only getting demonetized, some believe because he’s popular, brings his fans to YouTube and Google might face allegations of anti-conservative bias if it suspended him
  • YouTube repeatedly refused to be transparent about why Crowder’s content was or wasn’t in violation of its policies, or what he’d need to change to be remonetized; it has refused to put anyone on the record, and even emailed responses to our press inquiries were answered by an anonymous Google Press email account
  • YouTube has not made any statement about ceasing to recommend Crowder’s videos in its algorithm, which has been repeatedly shown to radicalize people by showing them more and more extreme fringe content

Hopefully this will be a turning point in news coverage and public perception of Google and YouTube. Facebook’s spread of misinformation and Twitter’s failure to police harassment have dominated the conversation of social media’s dangers to society. But it’s YouTube that willfully suggests the most salacious and eye-catching content to users to keep them watching ads, even if it’s promoting bigotry. And since it pays stars directly, unlike Facebook, Instagram, Twitter or Snapchat, it’s uniquely responsible for creating a profession out of hatred.

Perhaps this situation will lead to more calls from viewers and advertisers to #BoycottYouTube. But if members of the tech community really want to drive change, they should message their friends who work at YouTube or Google and ask why they work at a company that operates this way. That monetizes harassment and radicalization while refusing to take a strong stand against it. When backlash hits not just pecks at Google’s profits but harms its recruiting efforts in a brutally competitive talent market, that’s when we might finally see it do the right thing.

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Alibaba pumps $100 million into Vmate to grow its video app in India

Posted by | alibaba, Apps, Asia, bytedance, Disney, funding, Google, india, Media, Mobile, Social, Startups, tiktok, Vmate, YouTube | No Comments

Chinese tech giant Alibaba is doubling down on India’s burgeoning video market, looking to fight back local rival ByteDance, Google and Disney to gain its foothold in the nation. The company said today that it is pumping $100 million into Vmate, a three-year-old social video app owned by subsidiary UC Web.

Vmate was launched as a video streaming and short-video-sharing app in 2016. But in the years since, it has added features such as video downloads and 3-dimensional face emojis to expand its use cases. It has amassed 30 million users globally, and will use the capital to scale its business in India, the company told TechCrunch. Alibaba Group did not respond to TechCrunch’s questions about its ownership of the app.

The move comes as Alibaba revives its attempts to take on the growing social video apps market, something on which it has missed out completely in China. Vmate could potentially help it fill the gap in India. Many of the features Vmate offers are similar to those offered by ByteDance’s TikTok, which currently has more than 120 million active users in India. ByteDance, with a valuation of about $75 billion, has grown its business without taking money from either Alibaba or Tencent, the latter of which has launched its own TikTok-like apps with limited success.

Alibaba remains one of the biggest global investors in India’s e-commerce and food-tech markets. It has heavily invested in Paytm, BigBasket, Zomato and Snapdeal. It was also supposedly planning to launch a video streaming service in India last year — a rumor that was fueled after it acquired a majority stake in TicketNew, a Chennai-based online ticketing service.

UC Web, a subsidiary of Alibaba Group, also counts India as one of its biggest markets. The browser maker has attempted to become a super app in India in recent years by including news and videos. In the last two years, it has been in talks with several bloggers and small publishers to host their articles directly on its platform, many people involved in the project told TechCrunch.

UC Web’s eponymous browser rose to stardom in the days of feature phones, but has since lost the lion’s share to Google Chrome as smartphones become more ubiquitous. Chrome ships as the default browser on most Android smartphones.

The major investment by Alibaba Group also serves as a testament to the growing popularity of video apps in India. Once cautious about each megabyte they spent on the internet, thrifty Indians have become heavy video consumers online as mobile data gets significantly cheaper in the country. Video apps are increasingly climbing up the charts on Google Play Store.

In an event for marketers late last year, YouTube said that India was the only nation where it had more unique users than its parent company Google. The video juggernaut had about 250 million active users in India at the end of 2017. The service, used by more than 2 billion users worldwide, has not revealed its India-specific user base since.

T-Series, the largest record label in India, became the first YouTube channel this week to claim more than 100 million subscribers. What’s even more noteworthy is that T-Series took 10 years to get to its first 10 million subscribers. The additional 90 million subscribers signed up to its channel in the last two years. Also fighting for users’ attention is Hotstar, which is owned by Disney. Earlier this month, it set a new global record for most simultaneous views on a live-streaming event.

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Instagram’s vertical IGTV surrenders to landscape status quo

Posted by | Apps, Creators, Entertainment, IGTV, instagram, Instagram IGTV, Mobile, Social, TC, YouTube | No Comments

A year ago Instagram made a bold bet with the launch of IGTV: That it could invent and popularize a new medium of long-form vertical videos. Landscape uploads weren’t allowed. Co-founder Kevin Systrom told me in August that “What I’m most proud of is that Instagram took a stand and tried a brand new thing that is frankly hard to pull off. Full-screen vertical video that’s mobile only. That doesn’t exist anywhere else.”

Now a dedicated hub for multi-minute portrait-mode video won’t exist anywhere at all. Following lackluster buy-in from creators loathe to shoot in a proprietary format that’s tough to reuse, IGTV is retreating from its vertical-only policy. Starting today, users can upload traditional horizontal landscape videos too, and they’ll be shown full-screen when users turn their phones sideways while watching IGTV’s standalone app or its hub within the main Instagram app. That should hopefully put an end to crude ports of landscape videos shown tiny with giant letterboxes slapped on to soak up the vertical screen.

Instagram spins it saying, “Ultimately, our vision is to make IGTV a destination for great content no matter how it’s shot so creators can express themselves how they want . . . .  In many ways, opening IGTV to more than just vertical videos is similar to when we opened Instagram to more than just square photos in 2015. It enabled creativity to flourish and engagement to rise – and we believe the same will happen again with IGTV.”

Last year I suggested IGTV might have to embrace landscape after a soggy start. “Loosening up to accept landscape videos too might nullify a differentiator, but also pipe in a flood of content it could then algorithmically curate to bootstrap IGTV’s library. Reducing the friction by allowing people to easily port content to or from elsewhere might make it feel like less of a gamble for creators deciding where to put their production resources,” I wrote.

The coming influx of repurposed YouTube videos could drive more creators and their fans to IGTV. To date there have been no break-out stars, must-see shows or cultural zeitgeist moments on IGTV. Instagram refused to provide a list of the most viewed long-form clips. Sensor Tower estimates just 4.2 million installs to date for IGTV’s standalone app, amounting to less than half a percent of Instagram’s billion-plus users downloading the app. It saw 3.8 times more downloads per day in its first three months on the market than than last month. The iOS app sank to No. 191 on the US – Photo & Video app charts, according to App Annie, and didn’t make the overall chart.

Instagram has tried several changes to reinvigorate IGTV already. It started allowing creators to share IGTV previews to the main Instagram feed that’s capped at 60 seconds. Users can tap through those to watch full clips of up to 60 minutes on IGTV, which has helped to boost view counts for video makers like BabyAriel. And earlier this week we reported that IGTV had been quietly redesigned to ditch its category tabs for a central feed of videos that relies more on algorithmic recommendations like TikTok and a two-wide vertical grid of previews to browse like Snapchat Discover.

But Instagram has still refused to add what creators have been asking for since day one: monetization. Without ways to earn a cut of ad revenue, accept tips, sign up users to a monthly patronage subscription or sell merchandise, it’s been tough to justify shooting a whole premium video in vertical. Producing in landscape would make creators money on YouTube and possibly elsewhere. Now at least creators can shoot once and distribute to IGTV and other apps, which could fill out the feature with content before it figures out monetization.

For viewers and the creators they love, IGTV’s newfound flexibility is a positive. But I can’t help but think this is Instagram’s first truly massive misstep. Nine months after safely copying Snapchat Stories in 2016, Instagram was happy to tout it had 200 million daily users. The company still hasn’t released a single usage stat about IGTV usage. Perhaps after seemingly defeating Snap, Instagram thought it was invincible and could dictate how and what video artists create. But the Facebook pet proved fallible after all. The launch and subsequent rethinking should serve as a lesson. Even the biggest platforms can’t demand people produce elaborate proprietary content for nothing in return but “exposure.”

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Pro gamer Tfue files lawsuit against esports org over ‘grossly oppressive’ contract

Posted by | esports, faze clan, Gaming, lawsuit, Sports, Startups, Talent, TC, tfue, Twitch, YouTube | No Comments

Turner “Tfue” Tenney, one of the world’s premier streamers and esports pros, has filed a lawsuit against esports organization Faze Clan over a “grossly oppressive, onerous and one-sided” contract, according to THR.

The complaint alleges that Faze Clan’s Gamer Agreement relegates up to 80% of the streamer’s earnings from branded content (sponsored videos) to Faze Clan, and that the contract hinders Tfue from pursuing and earning money from sponsorship deals that Faze Clan hasn’t approved.

Tfue’s lawyer, Bryan Freedman of Freedman + Taitelman, took the complaint to the California Labor Commissioner with issues that span far beyond financial contracts. Freedman wrote that Faze Clan takes advantage of young artists and actually jeopardizes their health and safety, noting an incident where Tfue was allegedly pressured to skateboard in a video and injured his arm. Freedman also wrote that Faze Clan pressured Tfue to live in one of its homes where he was given alcohol before being 21 years old, and encouraged to illegally gamble.

From the complaint:

In one instance, Tenney suffered an injury (a deep wound that likely required stitches) which resulted in permanent disfigurement. Faze Clan also encourages underage drinking and gambling in Faze Clan’s so-called Clout House and FaZe House, where Faze Clan talent live and frequently party. It is also widely publicized that Faze Clan has attempted to exploit at least one artist who is a minor.

Faze Clan issued the following statement on Twitter following the news:

A follow-up from FaZe Clan on today’s unfortunate situation. pic.twitter.com/qm6sK8v88B

— FaZe Clan (@FaZeClan) May 21, 2019

Faze Clan claims that it has taken no more than 20% of Tfue’s earnings from sponsored content, which amounts to a total of $60,000. The owner of Faze Clan, Ricky Banks, took to Twitter to make his case, showing the incredible growth of Tfue’s popularity across Twitch and YouTube since signing with Faze Clan.

I recruited Tfue to FaZe Clan in April of 2018. These are graphs from both his YouTube & Twitch channels following the mark of our relationship. pic.twitter.com/c7m3QwsoTZ

— FaZe Banks (@Banks) May 20, 2019

As it stands now, Tfue boasts more than 120 million views on Twitch, more than 10 million YouTube subscribers and 5.5 million followers on Instagram.

Banks also reiterated Faze Clan’s official statement saying that the company has taken 20% of Tfue’s earnings from branded deals, totaling $60,000.

OK LAST TWEET – To clarify Turners contract does outline splits in prizes, ad revenue, stuff like that. But again we’ve collected absolutely none of it with no plans to and that was very clear to him. We have collected a total of $60,000 from 300k in brand deals (20%). That’s it

— FaZe Banks (@Banks) May 20, 2019

The Tfue claim, however, seems to take issue with the content of the agreement, not necessarily its execution, and the general legality of these types of gamer agreements across the esports landscape. Moreover, the complaint alleges that Tfue lost potential earnings due to his agreement with Faze Clan and their own conflicts of interest with various brands interested in a sponsorship.

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How-to video maker Jumprope launches to leapfrog YouTube

Posted by | Apps, DIY, eCommerce, Education, food, funding, Fundings & Exits, How To, instagram, Instructables, Mobile, Recent Funding, Social, Startups, TC, Thumbtack, Video, YouTube | No Comments

Sick of pausing and rewinding YouTube tutorials to replay that tricky part? Jumprope is a new instructional social network offering a powerful how-to video slideshow creation tool. Jumprope helps people make step-by-step guides to cooking, beauty, crafts, parenting and more using voice-overed looping GIFs for each phase. And creators can export their whole lesson for sharing on Instagram, YouTube or wherever.

Jumprope officially launches its iOS app today with plenty of how-tos for making chocolate chip bars, Easter eggs, flower boxes or fierce eyebrows. “By switching from free-form linear video to something much more structured, we can make it much easier for people to share their knowledge and hacks,” says Jumprope co-founder and CEO Jake Poses.

The rise of Snapchat Stories and Pinterest have made people comfortable jumping on camera and showing off their niche interests. By building a new medium, Jumprope could become the home for rapid-fire learning. And because viewers will have tons of purchase intent for the makeup, art supplies or equipment they’ll need to follow along, Jumprope could make serious cash off ads or affiliate commerce.

The opportunity to bring instruction manuals into the mobile video era has attracted a $4.5 million seed round led by Lightspeed Venture Partners and joined by strategic angels like Adobe Chief Product Officer Scott Belsky and Thumbtack co-founders Marco Zappacosta and Jonathan Swanson. People are already devouring casual education content on HGTV and the Food Network, but Jumprope democratizes its creation.

Jumprope co-founders (from left): CTO Travis Johnson and CEO Jake Poses

The idea came from a deeply personal place for Poses. “My brother has pretty severe learning differences, and so growing up with him gave me this appreciation for figuring out how to break things down and explain them to people,” Poses reveals. “I think that attached me to this problem of ‘how do you organize information so it’s simple and easy to understand?’ Lots and lots of people have this information trapped in their heads because there isn’t a way to easily share that.”

Poses was formerly the VP of Product at Thumbtack where he helped grow the company from 8 to 500 people and a $1.25 billion valuation. He teamed up with AppNexus’ VP of engineering Travis Johnson, who’d been leading a 50-person team of coders. “The product takes people who have knowledge and passion but not the skill to make video [and gives them] guard rails that make it easy to communicate,” Poses explains.

Disrupting incumbents like YouTube’s grip on viewers might take years, but Jumprope sees its guide creation and export tool as a way to infiltrate and steal their users. That strategy mirrors how TikTok’s watermarked exports colonized the web.

How to make a Jumprope

Jumprope lays out everything you’ll need to upload, including a cover image, introduction video, supplies list and all your steps. For each, you’ll record a video that you can then enhance with voice-over, increased speed, music and filters.

Creators are free to suggest their own products or enter affiliate links to monetize their videos. Once it has enough viewers, Jumprope plans to introduce advertising, but it could also add tipping, subscriptions, paid how-tos or brand sponsorship options down the line. Creators can export their lessons with five different border themes and seven different aspect ratios for posting to Instagram’s feed, IGTV, Snapchat Stories, YouTube or embedding on their blog.

“Like with Stories, you basically tap through at your own pace,” Poses says of the viewing experience. Jumprope offers some rudimentary discovery through categories, themed collections or what’s new and popular. The startup has done extensive legwork to sign up featured creators in all its top categories. That means Jumprope’s catalog is already extensive, with food guides ranging from cinnabuns to pot roasts to how to perfectly chop an onion. 

“You’re not constantly dealing with the frustration of cooking something and trying to start and stop the video with greasy hands. And if you don’t want all the details, you can tap through it much faster” than trying to skim a YouTube video or blog post, Poses tells me. Next the company wants to build a commenting feature where you can leave notes, substitution suggestions and more on each step of a guide.

Poses claims there’s no one building a direct competitor to its mobile video how-to editor. But he admits it will be an uphill climb to displace viewership on Instagram and YouTube. One challenge facing Jumprope is that most people aren’t hunting down how-to videos every day. The app will have to work to remind users it exists and that they shouldn’t just go with the lazy default of letting Google recommend the videos it hosts.

The internet has gathered communities around every conceivable interest. But greater access to creation and consumption necessitates better tools for production and curation. As we move from a material to an experiential culture, people crave skills that will help them forge memories and contribute to the world around them. Jumprope makes it a lot less work to leap into the life of a guru.

You can watch my first Jumprope here or below to learn how to tie up headphones without knots:

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Google’s new Stadia gaming platform is all about streamers

Posted by | digital media, Gaming, GDC, GDC 2019, Google, google stadia, Internet, live streaming, new media, stadia, streamer, TC, Twitch, twitch tv, video hosting, world wide web, YouTube | No Comments

Google unveiled its new Stadia game-streaming service today, and while we’re still waiting to hear more details about how (and when) consumers will be able to access the service, it’s clear that Google kept game streamers in mind when it designed this new service. Indeed, it’s the first modern gaming platform that was clearly designed from the ground up with game streamers in mind.

During its presentation today, Google almost spent more time talking about streamers than the games that will be available on the service. Because Google owns YouTube, that’s no surprise. But it’s worth remembering that while YouTube surely has its own dedicated streamer community, it lags well behind Amazon’s Twitch . Stadia could change that.

So here is what Google is doing for streamers: Google’s own Stadia controller will have a button that lets you stream right to YouTube (though it’s unclear if you’ll be able to bring in a feed from your webcam, too). In YouTube, streamers will be able to give watchers a direct link to the game on Stadia — and there’ll probably be some revenue share here. But the really innovative piece here is that streamers also will be able to create a queue for viewers who want to play with the streamer. And that’s to a feature called State Share; sharing clips to YouTube also will be incredibly easy.

Because all the tech is managed by Google and runs in the cloud, there’s no additional hardware or software to buy and manage for streamers.

“Stadia is focused on empowering both creators and viewers to achieve new heights by breaking barriers of content capture and creating unique ways to engage with and grow a creator’s audience,” Google’s Ryan Wyatt said. “Established creators will have new ways to engage and monetize on YouTube with Stadia’s features. And with aspiring creators, we’re going to break down the barrier of entry in capturing content by giving you the ability to highlight, live stream and capture directly from Stadia.”

The last part is important, given how it takes a bit of work to create a working streaming setup. Of course, that’ll mean you’ll see lots of low-quality streams on YouTube once Stadia goes live, but there’ll surely be some new talent that’ll be discovered this way, too.

It’s worth remembering that Stadia is a new platform — this isn’t just a way to play your existing library in the cloud. Developers will have to specifically port games to it. With that, Google is able to add these features right into Stadia, making it the first platform that is able to do so from the outset.

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