Pex delivers independent video and music analytics & rights management services to enable creators, rights holders and marketers to find, measure and leverage the value of content across the Web. Pex was founded in 2014 in San Francisco. In 2016 the company relocated its HQ to sunny Downtown Los Angeles. ...
Pexeso, Inc. (Pex) is announcing its acquisition of Dubset Media Holdings. For the past three years, Pex has provided copyright search and content management tools to the largest rights holders in the music and film industries. Rights holders using Dubset’s rights management platform for music distribution on major streaming services will now have access to their catalog’s use and performance in any audio and video content across social media and user-generated content...
Pexeso, Inc. (Pex) is announcing its acquisition of Dubset Media Holdings. For the past three years, Pex has provided copyright search and content management tools to the largest rights holders in the music and film industries. Rights holders using Dubset’s rights management platform for music distribution on major streaming services will now have access to their catalog’s use and performance in any audio and video content across social media and user-generated content platforms.
“Dubset is a company we’ve been interested in for some time,” notes Rasty Turek, founder and CEO of Pex. “There are very few companies in the music business that have successfully licensed as much catalog as Dubset, and the music rights database they’ve built is massive and rare. Our technology’s scale and speed enables broad market access by all rights holders to our rights management and analytics services, built on top of the 20 billion video and audio files in our indexed database. We feel this will prove to be a game-changing combination.”
Pex is the only company capable of providing music, film, video, consumer brands, and enterprise companies an accurate and complete picture of what, where, and how much of their copyrighted works are being distributed and consumed across all of the world’s leading digital platforms.
“The distribution of digital media via social media has outpaced rights holders’ abilities to track, license, and manage their audio and video assets,” said Bob Barbiere, formerly of Dubset, now SVP Digital Rights at Pex. “Dubset was timely and successful in filling an industry need around identification and licensing of music in mixes and remixes. This acquisition will immediately expand rights holders’ abilities to locate, protect, and monetize use of their catalog within any form of music or video currently being shared on any of the world’s largest UGC and social media sites.”
In addition to the digital rights services and data Pex now offers to rights holders, the company has announced its best-in-class copyright compliance solution, Attribution Engine. Attribution Engine identifies, licenses, and administers royalties for content across a rapidly shifting international copyright landscape. Platforms can seamlessly “plug in” Attribution Engine and be assured they have a complete copyright control solution. Attribution Engine mitigates significant copyright liability, meeting or exceeding all requirements contained within Article 17 of the new EU Copyright Directive, which promises to close the value gap between content creators and platforms.
Last week, YouTube published its annual round up of the most popular videos on its platform, switching its usual focus from the amount of views these collected, to focus on the most liked videos on the platform in 2019.
So who actually made the top viewed list this year on YouTube? And what about the other social video platforms? Pex compiled the list of the top videos published in 2019 on the four largest social video platforms: Facebook, Instagram, Twitter, and YouTube. We ranked these videos by views, while also gathering data on the engagement they garnered (likes, shares, comments).
The results have some intriguing twists and turns, demonstrating how social video is changing and maturing, while also perhaps remaining less predictable than analysts might have you think.
YouTube: The world is watching (music videos)
YouTubers may capture a lot of off-platform attention, but music videos have long been the heart of YouTube. This year was no different, with music videos making up 80% of the top videos overall. Perhaps this music dominant list is why YouTube changed its annual ‘Rewind’ top 10 lists to rank on likes instead of views. While marketed as a platform to “Broadcast Yourself,” YouTube is in large part a music streaming site.
The remaining top videos are children’s content (one involves secretive sugar ingestion by a kid named Johnny) or entertainment (a Hindi-language comedy video that tickled millions).
If we look closely at those music videos, we see that Latin, K-pop, and Indian pop outweigh the English-language pop videos by far — yes, even Billie Eilish. But Billie, BlackPink, and BTS suggest that views aren’t everything; their fans are highly engaged, commenting and liking at a furious rate.
Facebook: Tips and tricks
Looking back on 2018, the top viewed videos on Facebook were wildly diverse in subject, a grab bag of vaguely general interest content from all over. This year’s list suggests the viewing habits on the platform have settled in considerably, finding a clear content groove. The overwhelming majority of the top videos on Facebook show that one weird life hack or a silly prank is a complement to the more friends-and-family lifestyle direction Facebook has publicly declared.
Instagram: Should we just call it Jennergram?
People really like watching Kylie Jenner’s videos. A LOT. She occupied 6 of the Top 10 videos on Instagram* this year and dominated the talk on the site as well, as all of her videos demonstrated a high level of likes and responses. The Jenner domination on Instagram hints at the power of influencers on the platform, in particular well-heeled, long-standing influencer powerhouses like the Jenner/Kardashians. One exception: the notorious E.G.G., whose feud with Kylie left its mark on 2019.
Twitter: Brands are big (but don’t get big engagement)
Brands won / acquired most of the top spots for Twitter’s top videos, with videos by major consumer companies and media brands (Apple, HBO, Coke, Amazon) racking up views on the platform.
Other content got people talking and sharing more, however: entertainment (Mariah Carey, America’s Got Talent) and politics (Alexandria Ocasio-Cortez, Trump) led to orders of magnitude more engagement through likes and retweets. This suggests that paying for spots to post on Twitter might lead to high eyeball counts, but doesn’t necessarily lead to deeper engagement.
Going viral in 2019
One major insight we can glean from year’s top videos is that no video made it to the top lists on more than one platform. This reflects the fact that “going viral” and acquiring a lot of views, does not mean winning across all social media. Each platform and its community seem to support a distinct flavor of content.
It also highlights that YouTube still reigns supreme for video. Ronaldo and Kylie may wear the video content crowns on Instagram, but with “only” 50 million views, their top videos barely qualify them as jesters in Daddy Yankee’s Con Calma YouTube court. As the role of video continues to grow on more and more platforms, the playing field may balance with time.
Perhaps Ronaldo or Kylie will have the last laugh in the end.
Want to learn more?
Visit www.pex.com and drop us a line to let us know if we can help you measure the true reach of your content!
*For Instagram and Twitter, the top charts published here include only verified accounts, as the views on both platforms’ top content overall [possibly] remain to be cleansed from bots.
Pex, the service that fingerprints, tracks, and attributes online audio and video content, has launched a powerful new product for content creators, rights-holders and platforms --completely free of charge.
The Attribution Engine (AE) allows content creators and rights-holders to register their video and audio library with AE and establish custom distribution and licensing rules for their content. This ownership information will be transmitted in appropriate form so that platforms understand who the original creators are. Any ownership conflicts will be settled through an efficient and transparent process to reduce friction and copyright trolling. All user accounts must be verified, and no anonymous activity is permitted. Users can register now for free by contacting email@example.com.
“We know the health and vitality of online content systems, spread across dozens of platforms, depends on a clear framework for claiming and protecting creator rights,” explains Amadea Choplin, COO of Pex. “Without this clarity, rights-holders are often bogged down in takedown and other types of claims, and creators of new content that may draw on older works can’t get a clear answer about how to license content and on what terms.”
Attribution Engine draws on Pex’s fingerprinting and matching technologies, processing queries at a pace that puts other content identification systems to shame. It can find snippets as short as a second long. It can identify content that has been significantly modified or distorted, extracting melodies that may be subject to copyright.
“Until platforms know who made what, who content belongs to, they can’t properly execute a system for licensing and compensating creators.” says Choplin. “Attribution Engine is designed to offer a neutral third-party cost-free solution to rights-holders big and small, and to introduce the necessary layer into the system that will level the playing field for creators of all sizes and types.”
Read more about Attribution Engine in a blogpost here.
Pex delivers independent video and music analytics and rights management services to enable creators, rights holders and marketers to find, measure and leverage the value of content across the Web. It can find snippets as short as 1 second across dozens of platforms worldwide. Clients include major music companies, video rights holders, and other key content producers and administrators. For more information, please visit pex.com/.
Music is an integral part of podcasts, and as podcasting takes off as a format, knowing what music happens where will be increasingly important for rights holders. That’s why Pex has added podcasts to the dozens of online audio and video platforms and services it already scans for its clients.
As of today, Pex will be able to find musical works and audio snippets as short as a half second in all podcasts uploaded to Apple Podcasts. With an estimated 750,000 podcasts out there and an audience of 62 million weekly podcast listeners in the US alone, podcasts are a vital piece of music rights holders’ asset management puzzle, one Pex can help them track.
Pex uses its powerful fingerprinting technology to detect its clients’ audio files, tracking billions of pieces of content across the internet. It can find a match even when the copy is distorted or very short. It allows rights holders to see exactly how and where music is being used, and thus to address any uses that are not adequately licenced or fair use.
Pex already finds and flags audio and video assets on several dozen social apps and video platforms, from TikTok to YouTube. “As audio formats gain popularity thanks to new devices and offerings, Pex wants rights holders to be able to monitor these formats and make good decisions for their business,” says Amadea Choplin, Pex’s COO. “Podcasts are increasingly professionalized, monetized, and ad driven, and music rights holders should be part of the conversation when their assets are being used.”
Pex delivers independent video and music analytics and rights management services to enable creators, rights holders and marketers to find, measure and leverage the value of content across the Web. It can find snippets as short as 0.5 seconds across dozens of platforms worldwide. Clients include major music companies, video rights holders, and other key content producers and administrators. For more information, please visit pex.com/.
There’s a hotly contested competition on social media channels and video platforms between the established U.S. professional sports leagues. The NFL, MLB, and NBA are vying for sports fans’ attention, formulating unique game plans when it comes to social video, and trying every move from takedowns to local channel ownership to viral-ready highlights.
Pex, the video analytics specialists who use fingerprinting to catch super-short snippets of video and audio across social media platforms, have taken a close look at the leagues’ content and how it travels and spreads--and what this says about the sport, its management, and the fans who love it.
MLB content appears most prevalent on short-form platforms like Instagram and Twitter, likely because highlights are a favorite way to enjoy key moments in a game. MLB has shown more openness and flexibility when it comes to shares, taking down only 7.33% of league content. “MLB has given teams and individual players lots of leeway and opportunities to share video,” Wilson Hays of Pex notes. “With content owners encouraging user-generated uploads, it enables more opportunities for fan interaction and higher engagement as a result.”
Takedowns don’t necessarily disable the spread of popular videos. The NFL leads in takedowns, slapping notices on 21.09% of videos featuring its content. The NBA ranks a fairly close second, with a 14.33% takedown rate. That said, short sports videos are everywhere; the footprint and reach that the NFL & NBA have drive 3x as many views and 8x as many derivative videos (a view of any copy of an original video upload) in comparison to MLB based on the top content from each of the sports leagues so far in 2019. “Sharing videos is a currency of fan culture, and each sport league has a distinct perspective on this relationship with their audience,” reflects Hays.
There’s also a generational factor suggested by where derivative video appears, the general demographic trends of each social platform. Facebook, where many older fans are active, is a popular re-upload destination for baseball and football fans, hosting 34.89% of MLB views from derivative videos and 40.57% of the NFL’s derivative video views. Most of the derivative video views for basketball happen on YouTube. “This is an important dynamic to keep in mind,” Hays says. “The volume of re-uploaded videos doesn’t always correlate with view counts. Content owners need to embrace audience trends for each platform and interact accordingly.”
Sports-related videos prove popular across all big social and video platforms, without dominating any of them, unlike the love affair between music and YouTube, for example. Fans have yet to find their go-to platform to watch or share or reupload, making it an exploratory time for content owners to act strategically with each platform based on their audience’s intent. Hays concludes, “Focusing on your owned and operated content or a single platform only gives you a narrow perspective of the data narrative. To truly understand any video’s reach, you have to follow the sprawling threads of uploads across all platforms to make informed decisions about managing your social content and interacting appropriately with your audience.”
Pex delivers independent video and music analytics and rights management services to enable creators, rights holders and marketers to find, measure, and leverage the value of content across the Web. It can find snippets as short as 0.5 seconds across dozens of platforms worldwide. Clients include major music companies, video rights holders, and other key content producers and administrators. For more information, please visit pex.com/.