The evian babies are back, welcome to Baby Bay ! ‪#‎evianBabyBay‬ #BETC

The most eye-catching surf spot around – except here it’s the size of the surfers and not the size of the waves that turns heads.

Partners since 22 years, evian and BETC Paris, have set their latest film on an exotic, slightly rugged beach, treating the ears as well as the eyes with a cover of the classic Beach Boys hit “Kokomo”, performed by Lilly Wood and The Prick.

In this short film, a surfer falls when taking on a wave, then wakes up on a beach surrounded by stylish, cool, and incredibly young surfers – which might have something to do with the fact that the only bar on the beach is serving evian.

Staying true to the “Live young” signature, the film reaffirms evian’s vision of youth: a positive and universal value and an openness to the world and the unexpected, regardless of age.

Directed by James Rouse and produced by Wanda studios, the “Baby Bay” spot will be surfing the web from April 20th, before making waves on cinema and TV screens.

A virtual reality application designed by agency Versus Fully Tailored Creation in partnership with Quiksilver will present a fun and outlandish immersive 360° experience inside a wave. Put yourself in the shoes – or rather the wetsuit – of a baby and perform some iconic surfing moves. Available from April 19th on Google and Apple Appstores.

Who’s that girl ?

For the outdoor campaign, a famously baby-faced it-girl will be appearing in the US as a surfer with her baby lookalike. Find out who it is at the latest web surfer hotspot, the hub babybay.evian.com.

Packs and bottles will display images of baby surfers, but also their adult versions, as they would have looked before drinking evian. A collector’s bottle that reveals the “babyfied” reflection of the film’s hero through the water will also be distributed in large retailers and convenient stores.

evian x colette:

The legendary Parisian concept store colette will also be experiencing a wave of youthful energy as of April 20th. Here, customers will find three baby surfer t-shirts, as well as special edition flip-flops for adults that leave a baby footprint in the sand.

Ah, one last message from the baby crab you’ll meet on thebabybay.evian.com hub : don’t leave your bottle on the beach. Remember that evian bottles are recyclable.

Hello play! presents “THE FUTURE OF MUSIC” (360° video)

Hello Play!, la plateforme musicale de Hello Bank!, imaginée et soutenue par Digizik, annonce une première mondiale : une vidéo 360° ultra-scénarisée sur un track électro, à télécharger gratuitement. “The Future Of Music” propose aux internautes une expérience inédite, au cours de laquelle ils se retrouvent englobés dans un univers captivant. depuis des angles multiples. L’expérience est décuplée sur smartphones ou tablettes. Le projet est le fruit d’une co-création entre Greg Barth, artiste-réalisateur suisse basé à Londres, et Polar Youth, une jeune productrice belge de musique électronique.

“THE FUTURE OF MUSIC” is a ground-breaking 360° experience immersing you in a surrealist musical universe.

To view this project at its best use the YouTube or Google Cardboard app on IOS and Android. You can move your phone around to explore the space. Recommended viewing is with an iPad. You can also watch on your desktop or laptop with Google Chrome using the cursor to navigate.

FREE DOWNLOAD of the exclusive Polar Youth track: https://goo.gl/mJHO89

© Copyright Hello play! 2016

Website: http://www.helloplay.be

Facebook: http://www.facebook.com/helloplayers

Twitter: http://www.twitter.com/helloplaybelgiq

Soundcloud: https://soundcloud.com/helloplay

IKEA Video content: Kids & Kitchen #cookingwithparents

IKEA believes that children are the most important people in the world, and that there is a lot to learn by listening to them. So we think it’s time to let kids into the kitchen.

Content approach based on insights:

According to the IKEA’s Life At Home Report, watching TV has become the most common family activity (82%), particularly in the UK (88%), the USA (88%), Spain (86%) and the Netherlands (86%).

In an attempt to change this, IKEA has made it their aim to bring the kids back into the kitchen. It is all about making out the do’s and don’ts, and instead focusing on five rules that will make cooking fun for kids, as well as manageable for the parents.

Today, IKEA presents “Cooking With Parents” – a manifesto from children to parents.

See the funny and cute campaign video here and learn more about the five rules:  https://youtu.be/4jg7OtBUcW4

How to ….

Rugby: Pour la troisième mi-temps, les Français refont le match sur #YouTube

La Coupe du monde de rugby 2015 est lancée. C’est parti pour six semaines de compétition intense. Quatre ans après la victoire des All Blacks en Nouvelle-Zélande, tous les fans du ballon ovale ont les yeux braqués sur l’Angleterre. Ils vibrent au rythme des plaquages, des mêlées et des essais sur PC, tablette et smartphone. Et pour la troisième mi-temps, les Français refont le match sur YouTube !

TF1 et Youtube dans le même GRP Vidéo !

Publicité : TF1 et Youtube dans le même GRP Vidéo ! — Bouillonnements numériques.

source: http://blog.lefigaro.fr/philippe-bailly/2015/05/publicite-tf1-et-youtube-dans-le-meme-grp-video.html

Cette fois la direction est clairement affirmée : « C’est un pas de plus vers la convergence des mesures d’audience TV et Internet », commentait ce lundi Benoît Cassaigne, le Directeur des mesures d’audience de Médiamétrie, après la confirmation du lancement en juin du GRP Vidéo.

La mise au point de cet « indicateur commun aux visionnages de publicités vidéos sur téléviseur et sur Internet » constitue l’aboutissement de trois années d’échanges entre éditeurs, régisseurs, agences médias, organismes professionnels… : le 16 avril 2012, Médiamétrie avait annoncé développer en partenariat avec Google un panel spécifique visant à “mieux comprendre la complémentarité entre les écrans : télévision, ordinateurs fixes et portables, tablettes et mobiles“.

De l’exercice de compréhension, on est clairement passé en phase active de rapprochement des conditions commerciales applicables à la télévision et au Web.

Le dernier pas vers la mesure totalement unifiée – celui qui verra éditeurs et producteurs recevoir à 9 h 10 les audiences réalisées par les programmes la veille, quel que soit l’écran et quel que soit le réseau sur lequel ils ont été consommés – n’est plus très loin. Les Allemands l’ont même déjà franchi : l’équivalent local de Médiamétrie AGF a annoncé fin avril que « les résultats de YouTube seraient intégrés dès cette année dans les audiences mesurées ».

Mais une phase de pédagogie sera certainement nécessaire pour accompagner l’arrivée de cette nouvelle mesure, sur la façon de comptabiliser les spots regardés en ligne en particulier. « Le marché a approuvé, pour le GRP Vidéo,  une définition du contact Vidéo sur Internet basée sur la durée de visionnage et la part de surface exposée », indiquait lundi la communication de Médiamétrie. « Si j’ai un pré-roll de 30 secondes et que ce pré-roll est entièrement vu cela vaudra 1. Si je vois la moitié de la surface, la moitié du temps, cela vaut 0,25 », expliquait à l’automne dernierBertrand Krug, le directeur-adjoint de Médiamétrie / Net Ratings.

Restent au moins deux questions :

–          Concernant les conséquences de cette nouvelle mesure sur les modes de commercialisation des espaces, d’abord, et sur le rapprochement qui pourrait en découler en termes d’outils de reporting comme de médiaplanning.  Le GRP Vidéo pourrait bien être le cheval de Troie qui prépare l’extension à la télévision des techniques d’achat en programmatique (RTB) massivement utilisés aujourd’hui sur Internet. Avec l’étude « Programmatique en TV, nouvel enjeu de l’achat d’espaces publicitaires », NPA Conseil analyse les enjeux d’une telle évolution (identification des acteurs-clés, aspects techniques, implications sur le cadre réglementaire, enjeux commerciaux et impact en terme de rapports de force sur le marché…).

–          A propos de possibles répercussions sur le prix des espaces ensuite, avec la crainte que la constitution de facto d’un inventaire commun réunissant télévision et Web exerce une pression à la baisse sur le prix des espaces.

Les groupes audiovisuels ne sont pas démunis pour parer à cette hypothèse. En premier lieu, la totalisation des audiences qu’elles génèrent sur l’ensemble des écrans offrira une meilleure approche de leur puissance globale, et les offres mixtes TV Web qu’elles pourront créeer leur permettront d’améliorer la couverture sur les cibles les plus friandes de vidéo en ligne.

Et de même que Youtube ou DailyMotion ne commercialisent pas au même prix le film familial UGC (user generated content) et le contenu premium (official content), TF1, France Télévisions, M6 ou Canal+ ne manqueront pas aussi de faire valoir la valeur différenciante du contexte éditorial garantie aux marques. Le Baromètre de la télévision de rattrapage réalisé depuis 2011 par NPA Conseil et GFK en partenariat avec la SNPTV répond bien à cette motivation. Et demain sans doute la télévision s’inspirera-t-elle de l’exemple de l’étude Audience One qui réunit les audiences des marques de presse dans l’ensemble des univers physiques et numériques. Gutenberg source d’inspiration pour John Baird !

54% of CMOs Supplement TV Ads with Digital Video

54% of CMOs Supplement TV Ads with Digital Video.


The CMO Club and Simulmedia have released the report “The Future of TV and Digital Video.” It’s the result of a survey of more than 80 senior marketers. Over half (54 percent) said they use digital video to supplement TV as a holistic strategy, but only 31%align their budgets for TV and digital advertising spend. This separation leads to a disconnect between the value of each medium, as just over half (52%) claim that they have different expectations across the two platforms. In addition, 75% of CMOs say that they measure reach the same way for both TV and digital video and but only one-third see Nielsen as the ongoing foundation of their reach metrics.

“CMOs say they want a holistic strategy, but neither plan, measure or budget for it as one thing,” says David Cooperstein, CMO at Simulmedia and author of the report.

Other findings:
* In the past three years, digital spend has gone from 10%of advertising budgets to 24% and is forecast to rise to 36%in the next three years.

“For over a decade, marketers have attempted to find the most efficient balance between TV and digital video spend,” says Pete Krainik, Founder of The CMO Club. “Our report shows that it’s not TV vs. digital video, it’s about TV and digital video, both today and for the foreseeable future.”

*In the US, digital video advertising expenditures are exploding. Figures from eMarketer show that digital video ad spending is estimated at $6 billion this year, growing around 42% annually. However, the actual dollars spent in TV still greatly trumps digital video. TV advertising dollars in the US were approximately $76 billion in 2014 and still growing by a smidgen more than 3% annually. While both will continue to grow, TV will continue to add more raw dollars of advertising than digital video will, particularly during pivotal political and Olympics years.

“Digital depth cannot match TV’s breadth. Nor should it. Conversely, TV has not historically been as measurable or personalized, so it cannot perform the magic that digital delivers. In that very unique way, TV and digital do not compete, they complement. The winning combination is the joint approach. TV’s reach and digital’s depth make them amazing partners in the marketing mix,” says Cooperstein.

The Role of Digital in TV Research, Fanship and Viewing – Think Insights – Google

The Role of Digital in TV Research, Fanship and Viewing – Think Insights – Google.

Digital platforms are changing the way people experience television. With 90% of TV viewers visiting YouTube and Google Search, we looked at how they are using these platforms to extend their experiences beyond their television sets. Here we detail the importance and growth of TV-related research online, the prevalence of fan engagement through video and the role of catch-up sources to extend the viewing time frame.

Digital platforms are changing the way today’s viewer experiences television. From sharing the new viral Jimmy Kimmel Live video to watching the promo for the premiere of The Walking Dead to searching for the actor who plays the funny cop on Brooklyn Nine-Nine, one thing is clear: There are more ways than ever for TV audiences to research, participate in and access television content.

With 90% of TV viewers visiting YouTube and Google Search, we looked at search activity, video views and engagement metrics to help us understand how viewers are using these platforms.1 Looking at a broad sample of 100 network and cable shows, we found that the corresponding online behavior is a clear indicator of a show’s popularity, as evidenced by a positive correlation between these activities and live plus three-day viewership. In this paper, we examine how viewers engage with and seek out these experiences on Google and YouTube, as well as the insights we can gain from their activities.

TV-related activity on Google and YouTube has grown year-over-year (YoY). Not only have searches across Google and YouTube grown, but there has also been a rise in video views, watch time and engagement on YouTube from 2012 to2013, suggesting that TV viewers are increasingly using these platforms to interact with fellow fans and engage with a show.

YoY Increase in TV-related Activities on Google and YouTube
Source: Google Internal Data, May–December 2012 to May–December 2013, United States.

While viewers continue to turn to multiple devices for television-related content, the query growth across Google and YouTube in the television category is driven by mobile and tablet, exceeding 100% on both of these devices.2

Online research: When, what and how

The changing face of television viewing has given way to new behaviors such as viral video sharing; audience-generated supplementary content; online streaming and use of catch-up sites such as Netflix, Hulu and networks’ streaming offerings. One thing remains consistent, though—a viewer’s desire to gain basic information about a show before tuning in.

Trailers, reviews, cast information and premiere dates are all common but essential types of content sought by viewers. Gathering this type of information is an important step in deciding whether or not to watch a show: Two-thirds of viewers of new television shows search online before tuning in.3 Overall, both Google and YouTube serve as key destinations in the television viewers’ decision-making process. Our analysis of Google and YouTube search queries and YouTube views show positive .72, .74 and .67 correlations with live plus three-day viewership, respectively.4

Let’s take a closer look at Google and YouTube search and viewing behaviors, specifically the whenwhat and how of seeking information and content:

When: We see that queries for fall television programs begin during upfronts and continue beyond the premiere, with increased activity during key show announcements and summer TV tentpoles such as Comic-Con and the Television Critics Association Press Tour (TCAs).

When TV Viewers Are Searching
*Different premiere dates affect when events are relative to premiere date for a majority of shows. Data represents average query volume for 100 fall TV shows.
Source: Google Internal Data, May–December 2013, United States.

Although this trend holds true for most shows, there are a few differences worth noting. New shows see spikes during upfront announcements, and then interest builds again about two months before the premiere date. Returning shows, in contrast, see sustained volume throughout the off-air period. Although new shows generally have fewer searches than returning shows, they have twice as many queries, on average, for promos, ratings and reviews. This suggests that users may be doing their homework prior to tuning in.

In addition, there are a few genre differences worth noting. From a trending standpoint, there is more activity earlier on for dramas and comedies. Queries for reality programs pick up in the few weeks leading up to premiere and are sustained post-premiere. In examining search intensity (queries/live plus three-day viewership), serialized dramas—especially teen dramas such as Vampire Diaries and Arrow—have the highest search intensity, followed by comedies and reality shows. Procedural dramas, in contrast, have the lowest search intensity.5

What: Outside of a show’s title, some of the most common TV-related search terms include season, TV show, network and cast modifiers, among others. Of these, we see that some are sustained throughout the premiere timeline, while others are concentrated to parts within it. For instance, promo queries spike at upfront week and tend to start building again about two months pre-premiere. Premiere-related queries are concentrated in the weeks leading up to and immediately following the premiere. Ratings and review queries, on the other hand, tend to be concentrated during premiere week and the weeks after it.

What TV Viewers Are Searching For…and When
Source: Google Search Internal Data, May–December 2013, United States.

One important component of what users are searching for is trailers for new shows. In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube, whereas videos viewed for returning shows are more varied in nature.6

“In addition to being frequently searched, the trailer is the most watched piece of content for new shows on YouTube.”

How: We examined 17 categories of Google Search queries across devices and discovered that intent can vary by device. For instance, cast, premiere/finale and plot-related searches regularly occur on mobile devices relative to other categories, suggesting that users often seek quick bits of information on a small screen. Alternatively, watch-related queries on Google Search are overwhelmingly searched on desktop and tablet devices, highlighting a preference among users to consume longer content on larger-screened devices.

How TV Viewers Are Searching
Source: Google Search Internal Data, June–December 2013, United States.

Viewer participation: Going beyond the episode

For a core group of fans, a 22- or 44-minute TV episode isn’t enough. Whether it’s seeking additional content offline (such as the live talk show Talking Deadthat discusses episodes of The Walking Dead) or online (network websites or industry sources such as imdb.com), TV lovers are looking to further engage with their favorite programs through “beyond-the-episode” content such as parodies, behind-the-scenes clips, and extended trailers found on YouTube. To better understand their online experience, we look to YouTube engagement metrics (i.e., shares, likes/dislikes, comments, subscribes), which collectively show a positive .58 correlation to live plus three-day viewership.7

A key behavior among YouTube users is the propensity to discuss their favorite shows and create new related content. Indeed, in 2013, for every piece of content uploaded by a show’s network on YouTube, there were more thanseven pieces of community-generated content related to the show. Some fan favorites far exceed that benchmark: Game of Thrones, for example, had 82 community-generated videos per video uploaded by the network and The Vampire Diaries had 69.8

These same fans are not only engaging with this content but also looking for ways to share and discuss it with a community of like-minded fans. An example of this collective enthusiasm can be found in YouTube’s subscriber community. Overall, they tend to watch 52% more video than those who don’t subscribe.9And because they watch more video overall, they’re often the first to discover content.

A popular late-night talk show’s highly viewed YouTube video that reached one million views in less than 18 hours exemplifies this phenomenon.10 We can see that subscribers comprise the majority of views right after the video goes live, but over time, discovery sources begin to shift as these initial viewers (the subscribers) share the video with others. As views from subscribers begin to taper off, direct links, YouTube searches and other user-controlled discovery methods take over. This highlights the importance of a strong subscriber base because subscribers are often the first to see and subsequently share content.

Viewership Pattern After Posting of Popular Video
Source: Google Internal Data, November 2013, United States.

It’s also a reflection of a larger trend on YouTube—overall, the platform has seen a 3x increase YoY in daily subscribers.11 Additionally, TV networks have been gaining subscribers for their official YouTube channels at a blistering rate, with an average per-channel subscribership increase of 69% from the beginning to the end of 2013.12

Accessing content: Extending the viewership timeline

In the past few years, we’ve seen a shift in measurement as metrics have evolved to capture longer viewing windows. This reflects not just a change in user behavior but recognition that there is considerable value in time-shifted viewing. With shows seeing a marked increase in viewership numbers across genres in the three days following a premiere and between seasons, tune-in is now happening across a much more extended timeline.

One significant trend is in-season catch-up behavior. DVRs, new streaming options and watch apps provide viewers with greater flexibility than ever to watch the content they want, when they want it. Search patterns also reveal a rising interest in this notion of “TV on my time.” Queries on paid streaming providers such as “Amazon Instant Video” or “Hulu Plus,” have increased 16% YoY, while watch app-related queries, such as “HBO GO” and “AMC mobile,” have increased 35% YoY.13

Catch-up behavior is not restricted to in-season activity. If given the opportunity to catch up on a show before a new season, 78% of viewers would be more likely to tune in to the upcoming season.14 Query trends also reflect this sentiment: in the pre-premiere time frame, watch-related queries have increased 50% YoY, signaling intent to catch up on previous episodes before a season premiere.15 So when do viewers start catching up? Of the 70% who said that they catch up on past seasons of returning shows, approximately half start more than two months in advance.16

Day of week can also play a role in catch-up activity. Because viewership patterns show greater preference for time-shifted viewing of dramas, we analyzed pre-season search patterns for a set of dramas and found that catch-up-related queries tend to spike on Sundays. This “lazy Sunday effect” suggests that Sundays may be the most popular day of the week to both stream and catch up on shows.

Pre-Premiere, Daily Query Trending for Hit Serialized Dramas Catch-up Related Queries
Source: Google Internal Data, May–August 2013, United States.

As networks and streaming providers create new ways for viewers to access programming outside the traditional viewing window, they’re creating the opportunity for new viewership as well. Understanding the patterns of how and when viewers are researching catch-up options is important in recognizing key moments of tune-in engagement.

Summary

Digital platforms have fundamentally changed the way TV viewers research, participate in and access their favorite shows. Search, video and engagement activities, which show a positive correlation to viewership, can provide additional insight into a show’s popularity. Here we summarize our key observations across Google and YouTube:

Research

  • We see online television activity growth in the YoY increase in TV-related queries on Google and YouTube, and a rise in watch time, engagement with, and views of TV-related videos on YouTube.
  • Across the board, viewers are starting their research well before a premiere, with activity continuing several weeks beyond the premiere.

Participation

  • TV audiences often look to go “beyond-the-episode” on YouTube.
  • YouTube’s subscribers are fans who actively engage with a show and other fans, and they’re often key in spreading the word.
  • YouTube users engage with their favorite shows through discussion and creation of new related content.

Access

  • Time shifting is here to stay, with catch-up behavior starting well before new seasons and continuing after episode premieres.
  • Sunday may be the most popular day of the week to both stream and catch up on shows.

Sources:
1 Nielsen, @Plan, Q4 2013.
2 Google internal data, May – December 2012 to May – December 2013, United States.
3 Google/Ipsos OTX, Pathways to TV Consumption Study, 2013.
4 Google Internal Data and Nielsen TV Toolbox, United States.
Analysis looks at relationship between non-premiere live plus three-day viewership and leading seven-day Google and YouTube queries and YouTube views for cable and network shows across drama, comedy and reality genres. Analysis excludes outliers such as teen-skewing shows, musical reality competitions and shows with several searchable non-TV entities. View metrics analyzed on a representative sample of 32 fall shows.
5 Google Internal Data and Nielsen TV Toolbox, September–December 2013, United States.
6 Google Internal Data, 2013, United States.
7 Google Internal Data and Nielsen TV Toolbox, United States.
Analysis looks at relationship between non-premiere live plus three-day viewership and leading seven-day engagement metrics (likes/dislikes, comments, shares and subscribes) for cable and network shows across drama, comedy and reality genres. Analysis excludes outliers such as teen-skewing shows, musical reality competitions and shows with several searchable non-TV entities. Engagement metrics analyzed on a representative sample of 32 fall shows.
8 Google Internal Data, 2013, United States.
9 Google Internal Data, January 2014, United States.
10 Google Internal Data, November 2013, United States.
11 Google Internal Data, October 17, 2013.
12 Google Internal Data, 2013, United States.
13 Google Internal Data, 2012–2013, United States.
14 Google, Google Consumer Survey, n=500, March 8, 2013.
15 Google Internal Data, T-12 week – premiere week, United States.
16 Google, Google Consumer Survey, n=500, February 6, 2014.

  • Andrea Chen

 

 

Social Media Winter is Coming.

Social Media Winter is coming! Alors que la saison 4 de Game of Thrones commence demain sur HBO, Hootsuite vient de mettre en ligne une vidéo qui revisite le générique de la série pour l’adapter à son domaine.

Ainsi, le service a décidé de remplacer les royaumes qui se font la guerre par les différents médias sociaux.Tout comme dans le générique de Game of Thrones, on voit les bâtiments apparaitre section par section et émerger de la carte alors qu’on les survole : « chacun des royaumes a des caractéristiques et des fonctionnalités uniques représentant bien le réseau social qu’elles représentent du Colisée YouTube pour Google au marché du travail pour Linkedin« . Hootsuite explique également que l’on pourrait trouver quelques surprises cachées dans la vidéo.

Une belle manière de faire la promotion du service qui permet de gérer ses différents comptes médias sociaux dans un même espace!

– See more at: http://www.geeksandcom.com/2014/04/05/quand-hootsuite-revisite-le-generique-de-game-of-thrones-facon-medias-sociaux/#sthash.gpZogwN3.dpuf

Les recettes publicitaires de YouTube explosent – Économie – Bilan

Les recettes publicitaires de YouTube explosent – Économie – Bilan.


PAR AFP
 Les recettes publicitaires de YouTube (Google) devraient atteindre 5,6 milliards de dollars en 2013, dont il gardera 1,96 milliard après les reversement à ses partenaires, en hausse de 65,5% sur 2012.
VIDÉO

Le site de vidéos est très confiant pour ses retombées publicitaires en 2013, selon une étude du cabinet eMarketer. Le groupe gardera 1,96 milliard après les reversements à ses partenaires.

YouTube encaisse ainsi 1,7% des recettes mondiales de publicité sur Internet, davantage que Twitter, Amazon ou Linkedin. Ses recettes nettes représentent 5,1% des revenus publicitaires nets totaux de Google, contre 3,6% en 2012.

YouTube réalise la majorité de ses recettes nettes aux Etats-Unis(1,08 milliard de dollars), dont 850 millions provenant des publicités en format vidéo. Le site de vidéos capte ainsi 20,5% du marché américain de la publicité vidéo en ligne.

100 heures de vidéo chaque minute

YouTube compte désormais plus d’un milliard de visiteurs unique par mois qui regardent plus de 6 milliards d’heures de vidéos par mois, en hausse de 50% sur 2012. De son côté, le blog officiel de la plate-forme (youtube-global.blogspot.com) précise que 80% des vues sont réalisées hors des Etats-Unis.

Selon eMarketer, cent heures de vidéo sont téléchargées sur le site chaque minute. Plus d’un millions d’annonceurs y ont recours. Un quart du temps d’audience est réalisé sur des appareils mobiles.

En 2014, YouTube verra ses recettes provenant des publicités vidéo aux Etats-Unis atteindre 1,22 milliard, soit 21,1% du marché américain. Une hausse liée à l’accroissement de la vidéo sur appareils mobiles, ainsi qu’à une politique volontariste du groupe, qui encourage les annonceurs à placer des prérolls (spots vidéo placés au début des vidéos) que l’internaute peut arrêter au bout de cinq secondes, un format bon marché pour l’annonceur et qui n’agace pas trop les internautes. A tel point que les prérolls, qui il y a deux ans encore étaient rares sur YouTube, y sont devenues la norme.