As far as I am presently aware, the true fact stands that YouTube is valued by multiple sources at around $100 billion, and they absolutely are taking a massive cut from content creators. Regardless of their exact numbers, the fact remains that they are taking a massive cut that could otherwise go directly to content creators, that absolutely, unequivocally makes the difference for many of those creators between profitability and operating at a loss.
Having outside income streams is especially important. After all, a change to how YouTube partners with and compensates creators could drastically shake up a YouTuber's ability to earn money with little warning. This happened in January, when the YouTube Partner Program boosted the eligibility requirements for monetization from 10,000 lifetime views to 4,000 hours of watch time within the previous year and 1,000 subscribers, leaving some content creators scrambling to reclaim their ability to earn money.
Chandar met me and led me into a massive conference room. In addition to being the CEO, he composes music for ChuChu. He’s the public face of the company and, at 39, a few years younger than the other four founders, who each hold an equal stake. He sent a young man to get me a coffee, and then we sat down together with his friend B. M. Krishnan, a former accountant and a ChuChu co-founder who is now the company’s chief creative officer.
But what about the cost of servers, bandwith etc? I think it might be in the range of $750 million per year to as high as $1.5 Bn plus ( we will never know as Google never reveals cost of running youtube, and Google has invested heavily in this space ). I feel Youtube as a standalone business MAY NOT be as profitable a biz as Search and might never be since barely 10% of its content is actually monetizable. But for Google, with $30 Billion revenues, Youtube losses( even if money lost is as high as say $500 million per year) is chump change considering the strategic advantage it gives visavis competition. (Microsoft online businesses lost way more last 10 years). Youtube subsidy by Google has created a monopoly which has effectively destroyed all independent video ad network business plans.
You will first have to build up your YouTube platform to gain more followers. While it is by no means a science to instantly get thousands of subscribers or views, by posting frequently, promoting your videos, and paying attention to engagement and demographics, you can see what performs well and curate your content to what your viewers seem to like.
If so, Frank Knoll’s YouTube Profits – No Filming, No Money Needed: Be Anywhere and Make Big Profits is the book for you! You’ll find out how to manage and update your YouTube videos, promote them, and make money with Google AdSense. Frank provides detailed, step-by-step instructions for setting up accounts, adjusting settings, and linking to payment sites! All this without having any video of your own at all!
But whereas Disney has long mined cultures around the world for legends and myths—dropping them into consumerist, family-friendly American formats—ChuChu’s videos are a different kind of hybrid: The company ingests Anglo-American nursery rhymes and holidays, and produces new versions with subcontinental flair. The characters’ most prominent animal friend is a unicorn-elephant. Nursery rhymes become music videos, complete with Indian dances and iconography. Kids of all skin tones and hair types speak with an Indian accent.
Absent substantive oversight by regulators, in the late 1960s the calls for change entered a new, more creative phase. A group calling itself Action for Children’s Television began advocating for specific changes to programming for young kids. The Corporation for Public Broadcasting was formed in 1968 with government dollars. At the same time, Children’s Television Workshop began producing Sesame Street, and the forerunner to PBS, National Educational Television, began distributing Mister Rogers’ Neighborhood. These shows were tremendously successful in creating genuinely educational television. By the time children’s programming got swept up into the growing cable industry, the big channels had learned a lot from the public model, which they incorporated into shows such as Dora the Explorer and Blue’s Clues.
The second involves YouTube’s annual year-end “Rewind” video. The 2018 video, released on December 6 and described by YouTube as “a who’s who of internet culture,” omitted a number of popular YouTubers, most notably PewDiePie. In response, PewDiePie’s followers started a campaign encouraging people to vote down the video, with the result that within a matter of days, YouTube’s 2018 Rewind video has rapidly overtaken an eight-year-old Justin Bieber single to become the most disliked video in YouTube history, surpassing Bieber as of early Thursday morning at 9.8 million dislikes and counting. By Thursday afternoon, the dislikes had topped 10 million.
In Libya and Egypt, the Innocence of Muslims trailer was blamed[by whom?] for violent protests in September 2012. YouTube stated that "This video—which is widely available on the Web—is clearly within our guidelines and so will stay on YouTube. However, given the very difficult situation in Libya and Egypt we have temporarily restricted access in both countries."
Regardless of the exact number, it's safe to assume that YouTube's ad sales are growing at a rapid clip. On its earnings calls, Google has signaled that outside of mobile search, YouTube has been the biggest driver behind its rapid ad sales growth. Last quarter, "paid clicks" on Google's own sites and apps rose 59% annually -- this figure covers not only actual ad clicks, but (among other things) the showing of YouTube video ads that were watched long enough for Google to get paid.
YouTube has also faced criticism over the handling of offensive content in some of its videos. The uploading of videos containing defamation, pornography, and material encouraging criminal conduct is forbidden by YouTube's "Community Guidelines". YouTube relies on its users to flag the content of videos as inappropriate, and a YouTube employee will view a flagged video to determine whether it violates the site's guidelines.
There was some backlash over these new benchmarks, but frankly, the vast majority of people who lost their monetization privileges weren’t earning much anyway. Most channels make somewhere between $1.50 and $3 per thousand views, depending on their content and audience, and Google won’t even cut a paycheck for under $100 (or roughly 50,000 views — a pretty tall order for the average 14-year-old posting eyeliner tutorials). In other words, if you were looking for an easy side gig, YouTube was never the efficient choice.
Of course, YouTube is funded by advertisers. So it makes sense to pay attention to their wants and desires. But under the current model, brands’ reactions are often a placeholder for third party regulation. And at the moment – as content creators are sketching the line for appropriate content – it is often advertisers who have the final say about acceptability.
Not to put too fine a point on it, but this is almost precisely the problem that the rest of the media world finds itself in. Because quality is hard to measure, the numbers that exist are the ones that describe attention, not effect: views, watch time, completion rate, subscribers. YouTube uses those metrics, ostensibly objectively, when it recommends videos. But as Theodore Porter, the great historian of science and technology, put it in his book Trust in Numbers, “Quantification is a way of making decisions without seeming to decide.”
That kind of growth suggests that something unpredictable and wild is happening: America’s grip on children’s entertainment is coming to an end. ChuChu is but the largest of a new constellation of children’s-media brands on YouTube that is spread out across the world: Little Baby Bum in London, Animaccord Studios in Moscow, Videogyan in Bangalore, Billion Surprise Toys in Dubai, TuTiTu TV in Tel Aviv, and LooLoo Kids in Iași, a Romanian town near the country’s border with Moldova. The new children’s media look nothing like what we adults would have expected. They are exuberant, cheap, weird, and multicultural. YouTube’s content for young kids—what I think of as Toddler YouTube—is a mishmash, a bricolage, a trash fire, an explosion of creativity. It’s a largely unregulated, data-driven grab for toddlers’ attention, and, as we’ve seen with the rest of social media, its ramifications may be deeper and wider than you’d initially think.
The power of YouTube's ad-targeting abilities -- enabled by both its own user data and outside data it can get with Google's help -- have also helped its cause. So have its investments in building quality measurement tools that help companies gauge the impact of a video ad on things like awareness of a product and attitudes towards the brand that's selling it.
This YouTube Money Calculator provides a glimpse into what a user could make with YouTube by estimating a commonly accepted CPM range based off of the average amount of views you insert down below. We take it one step further to provide users with various settings, allowing them to customize the experience. Please remember that these figures are Youtube Estimated Earnings, as there are many mitigating factors which decide what your overall CPM will be.
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On my last day in the ChuChu offices, Krishnan related a parable to me from the Mahābhārata, a Sanskrit epic. A prince wants to be known as generous, so the god Krishna decides to put him to the test: He creates two mountains of gold and tells the prince to give it all away in 24 hours. The prince begins to do so, parceling it out to people he thinks need it. But as the day ends he’s hardly made a dent in the mountains. So Krishna calls another prince and tells him he has just five minutes to give away the gold. This prince sees two people walking along, goes right over to them, and gives each a mountain. Just like that, the job is done. The moral is unsettling, but simple: Don’t impose limits on your generosity.
In August 2008, a US court ruled in Lenz v. Universal Music Corp. that copyright holders cannot order the removal of an online file without first determining whether the posting reflected fair use of the material. The case involved Stephanie Lenz from Gallitzin, Pennsylvania, who had made a home video of her 13-month-old son dancing to Prince's song "Let's Go Crazy", and posted the 29-second video on YouTube. In the case of Smith v. Summit Entertainment LLC, professional singer Matt Smith sued Summit Entertainment for the wrongful use of copyright takedown notices on YouTube. He asserted seven causes of action, and four were ruled in Smith's favor.
The great thing about sponsorships is that you don’t have to give YouTube a cut. Plus, you can negotiate whatever contracts you want based on impressions and the size of your audience. In most cases, the amount of revenue you generate from sponsorships is substantially more than YouTube ad revenue. (Meanwhile, you can still generate ad revenue. So it’s like having two sources of income from the same video.)
What kind of sales multiple does this fast-growing video juggernaut deserve? It's tough to think of a direct comparison. Netflix, which trades for over eight times its 2018 revenue consensus, relies on subscription revenue rather than ads. And whereas YouTube largely relies on ad revenue-sharing deals with content partners, Netflix directly pays its content partners for their material.
On Thursday, the Senate voted unanimously to blame Crown Prince Mohammed bin Salman for the murder of the Saudi journalist Jamal Khashoggi, and 56 members—a clear majority—-cast votes to end U.S. support for the Saudi-led war effort in Yemen. The rebuke was followed shortly afterward by a revelation about the Defense Department’s refueling of that bombing campaign: According to the Pentagon, the department had somehow failed to bill the Saudis and the Emiratis for at least $331 million in fuel and servicing costs. The Saudis, it appears, never directly paid the U.S. a penny.
Show you love your content: You need to be creating videos about something you love. Having a passion for your videos will make an affect on how they're received - if you seem interested, chances are your viewers will be too. If you don't love what you're doing you'll soon get bored and the videos will start to reflect that. Passion comes first, and the money comes second!
Français: gagner de l'argent sur YouTube, Italiano: Guadagnare Denaro Con YouTube, Español: ganar dinero en YouTube, Deutsch: Geld verdienen auf Youtube, Português: Ganhar Dinheiro no Youtube, Русский: зарабатывать деньги на YouTube, Nederlands: Geld verdienen op YouTube, Čeština: Jak vydělávat peníze na YouTube, Bahasa Indonesia: Mendapatkan Uang di YouTube, 日本語: YouTubeでお金を稼ぐ, ไทย: สร้างรายได้จาก Youtube, हिन्दी: YouTube से पैसा कमायें, العربية: الربح من خلال يوتيوب, 中文: 在YouTube赚钱, Tiếng Việt: Kiếm tiền trên Youtube, Türkçe: YouTube'da Nasıl Para Kazanılır
The survey was interested in the particulars of respondents’ anger. In its 14 pages, it sought an almost voyeuristic level of detail. It asked the woman to describe the stages of her fury, which words she had shouted, whether punches had been thrown. “In becoming angry, did you wish to get back at, or gain revenge?” the survey inquired. Afterward, did you feel “triumphant, confident and dominant” or “ashamed, embarrassed and guilty”? There were also questions for people like her husband, who had been on the receiving end: “Did the other person’s anger come as a surprise to you, or did you expect that it would occur?”
Additionally, in response to PewDiePie’s rec of the E;R channel, its owner described PewDiePie as producing “redpilled content.” And it’s easy to see why. Before declaring in 2017 that he would stop making Nazi jokes, PewDiePie made a whole lot of Nazi jokes. Even since then, he’s produced a long line of “satirical” videos and commentary that his alt-right followers have praised as examples of his “dropping redpills” on the rest of his fans.
At first, pretty much everybody agrees, television for kids was bad—dumb cartoons, cowboy shows, locally produced slop. There also wasn’t much of it, so kids often watched whatever adult programming was on TV. In the early 1950s, one teacher enumerated the changes she’d seen in her pupils since they had “got television”: “They have no sense of values, no feeling of wonder, no sustained interest. Their shallowness of thought and feeling is markedly apparent, and they display a lack of cooperation and inability to finish a task.” There were calls for action.
The good news is that income is rising, but efforts to generate a broad and loyal audience that turn to the service on a regular basis for original content appear to have hit a wall. The Journal points out how three years ago YouTube spent hundreds of millions of dollars on original content to build new channels, only to see many of them fail. Getting people to visit the site directly and regularly because there’s something specific they want to see, rather than dropping by occasionally via a link on another site or online service, appears to be a big challenge for the company.
YouTube began as a venture capital-funded technology startup, primarily from an $11.5 million investment by Sequoia Capital and an $8 million investment from Artis Capital Management between November 2005 and April 2006. YouTube's early headquarters were situated above a pizzeria and Japanese restaurant in San Mateo, California. The domain name www.youtube.com was activated on February 14, 2005, and the website was developed over the subsequent months. The first YouTube video, titled Me at the zoo, shows co-founder Jawed Karim at the San Diego Zoo. The video was uploaded on April 23, 2005, and can still be viewed on the site. YouTube offered the public a beta test of the site in May 2005. The first video to reach one million views was a Nike advertisement featuring Ronaldinho in November 2005. Following a $3.5 million investment from Sequoia Capital in November, the site launched officially on December 15, 2005, by which time the site was receiving 8 million views a day. The site grew rapidly and, in July 2006, the company announced that more than 65,000 new videos were being uploaded every day, and that the site was receiving 100 million video views per day. According to data published by market research company comScore, YouTube is the dominant provider of online video in the United States, with a market share of around 43% and more than 14 billion views of videos in May 2010.