Jump to content

Leo Wattenberg

Top Contributor
  • Content count

  • Joined

  • Last visited

  • Days Won


Leo Wattenberg last won the day on August 9

Leo Wattenberg had the most liked content!

Community Reputation

91 Excellent

About Leo Wattenberg

  • Rank
    Power Poster
  • Birthday October 29

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Leo Wattenberg

    Hitting that 1000 subscriber mark

    Your channel has quite a lot of issues and going over them individually would take forever, so I'll be a bit more general and go through the final steps of my "becoming a YouTuber" list instead: So: You say you want to diversify, and that's fine, but if you want people to care about you and your channel, you'll need to make video for an audience. Otherwise, people subscribing for one thing, eg your boat videos, will only get "spammed" by your "Reseller news" series and quickly unsubscribe again. So, let's say you want to reach people who sell stuff on Ebay and other platforms. Who do you think these people are? How old are they, do they have a lot of time or are they busy? Is selling stuff on Ebay changing so often that you need to upload daily, or is a weekly format enough? These are questions you should ask yourself, and then make decisions on what videos you'll produce based on that. You're talking about diversification, and that in general is a good thing, but diversification needs to happen in relation to your current audience if you're out for success. In other words, if you start with info on selling stuff on Ebay, that audience may also be interested in ebay horror stories about the most difficult customers they've had, or about selling stuff on Amazon, or about general economics, or about efficient warehouse keeping on a small-medium scale. That said, it is possible to have a personality-driven channel, where people don't really care about what you're saying or doing, but just love to see you do whatever. These channels however are structured very differently, usually around shallow entertainment and topics that everybody can get behind yet are still somewhat exciting. Your current videos just don't really offer that. For this, you'll need to have recurring formats on your channel. Looking at what other channels do - and more importantly, don't do yet - is also good to get success within a certain niche. Lastly, here is some further reading: https://creatoracademy.youtube.com/page/course/get-discovered?hl=en
  2. Moin. Upload schedules are important. They allow your fans and subscribers to plan their week around your content specifically, rather than you having to hope that your video isn't yet buried under their other subscriptions once they do look into their subscription feed - if they do that, at all. There are a couple different strategies for how often you should upload, but first, let's look at the stats. The stats On average (over the latest 20 videos) out of the top 100 channels (by subscriber count): 29.5% upload at least one video per day 40.2% upload at least one video every other day 49.8% upload at least two videos a week 61.2% upload at least one video a week 83.2% upload at least one video a month All upload at least one video once every 145 days. Uploading daily Uploading one or more videos a day is a thing that you can do if you have fast-to-produce or live content, or a team that can produce lots of content. Doing so has benefits: It maximizes the chance that your video will show up first once a subscriber looks into their feed If you also upload your videos during the same time period (eg the afternoons), people can plan their day around your videos like "after work/school, I'll watch X's new video" It allows you to do time-sensitive topics most of the time. Even if you're pre-producing and publishing from a backlog, throwing in a recent thing always is possible. It lets viewers use your channel like they would use a TV channel, ie as a thing they can have running more or less the entire period of the day where they would have a TV running otherwise. If a lot of your viewers do that, it opens your channel to a degree of freedom where you can have various, rather different shows running. It however has drawbacks: It's difficult to sustain. Especially as a lone all-in-one creator, you'll likely succumb to either burnout, or to a state where you are continuously grind out videos without actually having time to think about if what you're doing is good or how you could improve. This can lead to a general circle of unhappiness where your channel isn't moving forward even though you're trying your hardest. If you upload too many videos a day, especially if it's in relatively different formats or about different topics, you may cause viewers to unsubscribe because they no longer want to get "spammed" by your videos. Uploading every other day, a couple times a week or just once a week Uploading on a weekly schedule has almost the same benefits as uploading daily, but is a lot more sustainable. This is the safest way to go if you are making content. If you are approaching this schedule, it's very useful to tie specific days of the week to different formats. Even if you want to make a video every other day, you typically have a much easier time getting your viewers to watch their videos if they know "every monday/wednesday/friday after work/school I can sit down and watch X's new video" Uploading fortnightly, monthly or rarer If your video needs more time to be produced, uploading fortnightly or monthly may seem like the only option. Compared to the aforementioned schedules, it has the major drawback that viewers can't really plan for your videos. Choosing to upload on certain dates on the month (eg the 13th of the month, or the second sunday) can help here a little bit, but it takes a dedicated fan to keep track of a relatively minor event like an upcoming video upload for as long as a month. If you upload even less frequently than monthly, another thing can happen: People subscribe to channels they like and unsubscribe from channels they no longer care about. But before they unsubscribe, they typically spend a long time just ignoring videos showing up from the channel in the subscription feed. If you upload very rarely, it can happen that by the time you upload your next video, people will already have forgotten who you are and what made your videos so enjoyable to watch. This is (one of the reasons) why high-quality educational aren't that successful on YouTube and one that TV knows how to avoid: TV shows rarely run less frequently than weekly, even well-produced ones. It's true that this is partially because they have a budget on which they can operate, but also because they use seasons. With seasons, you can output high-quality content on a weekly basis, reap all the benefits thereof and end the season with not only new subscribers, but with a bunch of new fans that you have taught that your channel brings high-quality content, a bit like a language teacher teaches children to remember words by repeating them. Unlike with just a single video the viewer happened to stumble upon and subscribed, this taught knowledge sticks much better, and once the new season begins a year later, the a lot of fans will drop whatever they were doing to watch your videos. Uploading in seasons also solves the problems of "when to advertise your channel" (just before the season starts) and "when to find time to re-evaluate and adjust the format" (after the current season ends) and is for example how the channel Epic Rap Battles works. This to some extend also is how professional music channels work, although for those they typically don't have the problem of keeping people watching (favourite songs tend to get listened to again), plus they typically have the seasons in reverse: They upload videos whenever they release a new album and expect to go on tour with it soon and during the time where they don't upload they actually make money with concert tickets. Unlike TV, you can also have a filler format/BTS show for the off-season so you can output some easier-to-make fanservice, however, also unlike TV, you'll likely face difficulties finding a budget large enough to survive the off-season. So, this is something you should try looking into if monthly options would be your alternative.
  3. Moin. There are a few resources on what thumbnails and titles should look like (if you haven't seen them, they're at the end of this post), so instead of going through the theory again, let's look and discuss some concrete examples. At first glance, this thumbnail isn't exactly great: It has some black-blue mess in the background and white text and that's it. However, it clearly is successful, and not only because the channel, austinmcconnell, has a lot of subscribers - the video is roughly 4x as popular as his subscriber count, and 10x as successful as his regular videos. So what's going on? What this title thumbnail combination does is the opposite of clickbait and how newspapers used to operate: It tries to get you to care about the details of a story by presenting the most astounding things about it first (instead of withholding it, like clickbait does). You get the information you need with only reading the headline (title) and subheadline (thumbnail), and you only need to read the article (watch the video) if you care about the details. And this story is interesting! How did non-disabled people participate in the paralympics? How did they get caught? Why did nobody notice before the competition? The only way to get answers to this is to watch the video. This combination does two things: It throws a huge yellow rectangle on your screen. This makes it automatically stand out of any group of other thumbnails and is guaranteed to get your attention. It tries to get you with a contradiction: The title says "this is not yellow", yet, the thumbnail clearly is yellow. So why is the title saying that it isn't? The only way to find out is to watch the video. These combinations seem to do everything wrong. Not only is the title of the show - Hello Internet - abbreviated to H.I., the thumbnail is literally just a number, the same number can be found in the title again, and the rest of the title isn't super interesting. And you can already tell that whatever the video is about is going to take around 2 hours of your time. Yet: They don't need to. This is a podcast that also is hosted on YouTube, it doesn't really want to be found on YouTube, instead, it wants to be found via iTunes and other podcast apps. The content isn't time-sensitive, it's banking on having people stumble upon the show at some point and then binge-listening to the entire thing, and for that purpose, this combination is quite good: You can immediately tell where you'll find your next episode. Further, the thing is ran by two YouTubers that have interesting videos and title/thumbnail combinations in their regular videos. This format basically is fan service for fans of their other channels, it, again, isn't there to be found by outsiders, but by fans of the other channels. So overall: Don't make your thumbnails like that if you want to attract new viewers. But if you want to make a format that you only want your fans to care about, go ahead. The same is true for instagram stories, btw. This thumbnail at first glance looks rather strange, and I don't think it's too compelling to click on if you don't know that this video is about how walls, floors and ceilings work in Super Mario 64. And I don't think it really is possible to make this connection without either looking at the channel itself or by having some degree of knowledge on how game devs would make schematics. If this information was included somewhere, this would probably be quite a good title/thumbnail combination as it immediately makes clear what it's trying to do in a fairly unagitated and sober way. Hello red arrow. Unlike in many other thumbnails where the red arrow points to the only thing that's in the foreground anyways, this red arrow actually sort of serves a purpose as this map has a lot of different colors on it, and you may not know which of the colors is Buckingham otherwise. Together with the title, it's a relatively straight-forward promise of what you'll see when clicking the video. The fact that it also has some comedic value isn't really visible here, the only hint on that is the "unboringed", which unfortunately is covered by the timestamp. Takeaway: Don't put text down there. This combination does a lot of things wrong: There is a lot of text in the thumbnail The text itself is very thin The text is repeated word by word in the title Overall, it looks like exactly the standard corporate help content made by people who don't know how to make proper videos. YouTube's newer combinations are better in comparison: The big icon in the thumbnail is the share icon that the title talks about, there is a person in the thumbnail indicating that there are, in fact, humans working at YouTube and not just algorithms, and the composition is relatively clear. The title/thumbnail combination here looks like it's fairly straight-forward, as far as artsy things go, but there is something special here: This is not a custom thumbnail. This is a frame from around the 1:10 mark in the video. In my personal experience, I found that thumbnails that just are a frame of a video are fairly clickable compared to poorly done custom thumbnails with too much text or just episode numbers on nothing. Anyways, that's it from me. If there are some thumbnail/title combinations you like (or dislike) in particular, feel free to share them below! Learning resources: https://creatoracademy.youtube.com/page/lesson/thumbnails
  4. Leo Wattenberg

    Fair Use: A right to avoid

    Moin. Fair Use is a thing that a lot of people say a lot of stuff about because it, in theory, gives you easy, cheap and uncomplicated access to high-quality content to implement into your video. Instead of trying to find the copyright owner and then trying to get broadcasting rights for it (worldwide? forever? that's gonna cost extra), you just download the thing and claim your use to be fair. The problem is, fair use is fuzzy, only exists in that form in the USA, and informing yourself about what it is and isn't is fairly difficult as everyone on the internet has an opinion on it without having proper qualification. Neither do I for that matter, I'm not a lawyer, but I spent the past half decade dealing with annoying copyright issues. But one thing at a time. 1. Fair Use is fuzzy. The often-quoted four factors of fair use are guidelines for judges and juries, not for creators. There are no hard guidelines that you can follow, and should your case go to court, the verdict can differ greatly from judge to judge and on whether a jury is involved. Case in point: Ray William Johnson v. Jukin Media. Ray William Johnson's equals-three show (=3) was a show in which he would collect a bunch of viral videos from the web and comment on them, parody some of it and generally try to do stuff he thought was entertaining. Jukin Media, which buys exclusive rights of viral videos, didn't like that and sued him in 2014. In 2015 the verdict was in, and the judge ruled that 18/19 videos were fair use. However, the case went on and in the next instance, in 2016, a jury ruled that 40/40 videos were not fair use. It ultimately didn't matter for the case as RWJ and Jukin settled the case before the verdict was spoken, but it does show how quickly things can turn. Even if you're certain that your use is fair and a judge agrees, the next judge (and especially jury) may not agree. 2. Fair use only exists in the US in that form. In other countries, the law simply may be different. For example, in the UK, there is a "fair dealing" law, which doesn't apply to everyone equally but rather has different requirements for private use, use as criticism, use as parody, and so on. As another example, in Germany, the "Freie Benutzung" law asks whether the original "verblasst" (~pales) in the new work. In other words, a video clearly being fair use may not help you if you're getting sued in not-the-USA. This is especially likely to happen if either you or the copyright holder lives outside the US. 3. Informing yourself about fair use is difficult. Not only does the law change every so often, is fuzzy and different from country to country, it also is fairly easy to look for information on the internet and find information that seems to validate an existing belief of yours. If you believe that putting a disclaimer up in your video is going to help with anything, you'll find plenty of places telling you it is, but that won't help you in event of a strike or lawsuit. A slightly more reliable place are the court dockets which show the judge's arguments in a fairly straight-forward language (though you need to be careful as they tend to throw in normal-looking words that mean very specific things in law-speech and not their use in common language), but, as we have seen, the judge's decision seldom is final, and the original documents tend to be rather difficult to find. A better way is to get someone who knows the stuff (ie a copyright lawyer) to look over your video, as well as the footage you're trying to use fairly, and let them make a call on whether that's a stupid idea. Often, a first and rough answer will be delivered free of charge. With that in mind, here a bit of personal preference: What would I do if I wanted to incorporate some fair use footage into my video? Don't. It'll save a lot of headaches by making videos 100% on your own. If it's necessary, try getting permission from the copyright holder. Often, the copyright holder is just happy that someone is paying attention to their content and will give permission for rather small uses. This is especially true for video games; a lot of game publishers have a thing somewhere on their website saying "you can use it in videos". If the copyright holder won't give me a permission, or wants me to pay sums you can't afford, I'll ask myself as well as a lawyer how likely it is that the video is under fair use. If both me and my lawyer find the video to be fair use, I'd think about whether I care enough about the video to potentially fight through several instances of courts until I'd finally reach a conclusion, with these things sometimes taking up to a decade to resolve fully. If the video is more important to me than the potential time I'd spent on 4, I'd upload it. I am aware that the above is a result of a chilling effect: Don't exercise your rights, it's annoying. I am aware that in an ideal world, you'd skip point 1, 2 and 4 and just get someone competent to defend you and fight to the bitter end, accepting no settlement. But the time you'd have to spend on permission-getting, lawyer-asking and court-fighting could be much better spent on just being creative and making a different video that is yours, 100% yours and only yours.
  5. Leo Wattenberg

    Intros are unnecessary, or: Why your cool intro isn't a good one

    @Unlimited Internet I'd advise strongly against it. In the worst case scenario, the owner of the anime may strike every video using the intro (so: every video) and/or drag you into a lengthy court case over it that puts your entire channel on the line. If you use the anime music in just one video, worst case is that you get one strike, and if you lose the court case, you'll at most have to delete one video. Not all of them. I'd only try to use something under fair use if it's a) absolutely necessary (an intro never is, as covered above), b) clearly fair use (which your intro usage isn't necessarily) and c) you're willing to defend your right in court.
  6. Leo Wattenberg

    On over-saturation

    Moin. There is this notion, especially among gaming channels, that YouTube is over-saturated and that maybe there was a chance half a decade ago, but nowadays you'll just stay small forever. I don't agree with this notion, and here's why: While it's true that nowadays there are more creators making videos than ever, there are also more viewers than ever. In the past year alone, YouTube grew from 1.5B logged-in users to 1.9B users, that's some 400 000 000 new users, enough to get over 60 channels more successful than Pewdiepie currently is if each of them just could subscribe to 10 channels in total. The earlier you start your channel, the more new users will be able to find you. People won't find you if you don't have a channel or videos. More creators means more videos, yes, but more creators doesn't necessarily mean more good videos. And without good videos, those new creators will never become anywhere near successful, and thus won't really matter as far as competition is concerned, if you produce good videos, that is. Similarly, even in an area that is highly saturated, there's no reason why a viewer wouldn't watch your videos if they're better than what the lot of established YouTubers have been doing. This is true for genres as a whole, even into specific niches: If you want to become the expert on a topic, eg a certain game, but already else is widely regarded as expert on that game, you still can find good success within the niche by making videos on topics the other channel has not yet covered, or covered a long time ago, or covered in a way that allows you to add info that the other channel left out. If you're doing funny gaming montages, your video will be different from anyone else in this space, just because your personality is different. But, again: this requires you to make good videos that are actually funny, else you'll be in the bunch of creators that don't have good videos and don't ever become successful. On the other hand, there is such a thing as over-saturation on a topic. If you want to make a tutorial on how to tie shoe laces, but neither do it better, nor with a different approach, there is little hope that you'll make it past the dozens, perhaps hundreds of good videos that have been made regarding this subject. That said, being alone or with relatively little competition in a niche has its perks, too: It generally makes your videos unique in a way that viewers didn't expect, and thus watch, engage with and share your videos way more often than common, done-to-death formats or topic. A good example of this is TierZoo, which takes the concept of Super Smash Bros.' "Tier Lists", the concept of treating the real world like a video game, and the concept of basically "top 10 animals" videos and merges them together, resulting in content that, for the moment, truely is unique on YouTube. And it shows, the channel grew within 2 years from <1k to >800k subs. So, in short: Finding a niche is very helpful, but not necessary if you know how to make really good content Oversaturation within a genre isn't really a thing as you always can do something differently Within niches, you'll have to work around (or better: with!) other YouTubers and avoid making a video on a topic another YouTuber already has made Oversaturation within a topic is a thing; if your video already has been made and there's nothing you can do to make it better or to make it unique, your video is unlikely to do well ever. Although I wouldn't necessarily call this oversaturation, but rather "accidental duplication". It only is going to get harder if you wait as others may take up a niche, so you better get started as soon as possible. Some tips for the latter can be found here.
  7. Leo Wattenberg

    Report suspicious ContentID claims

    Moin. There now exists a form where you can escalate ContentID trouble: https://www.creatorshub.net/contentid/report-claim/ Quick FAQ Where do I find the information? On the claims page, you can find information on what content got claimed in your video. When should I use this form? If public domain content is claimed Note: sound recordings of public domain compositions usually are not in the public domain themselves. If the claimed content is not in the video at all If the claimed content doesn't belong to the claimant and you have proof If the claimed content is ineligible for ContentID to begin with. What does this form not do? It won't resolve disputes around fair use It won't resolve licensing issues (ie you got permission, but the licensor forgot to tell that ContentID) It won't file a dispute. YouTube may or may not agree with me that the claim is invalid, but if they don't, the claim on your video will stay indefinitely. Why use this form? Why not just dispute the claim? Disputing a claim will route it to the claimant that then either agree or disagree with your dispute. If they agree that the claim should get released, your video, and only your video will be released. In contrast, if you report the claim, it will get routed to YouTube itself, which then decides whether or not the asset will get deactivated (releasing the claims from all videos) and potentially penalize the claimant (eg prevent them from making new claims until a condition is met, or throwing them out altogether).
  8. Leo Wattenberg

    Discord exists

    On discord.gg/youtubegaming
  9. @National Savings This means that the reviewers weren't quite sure whether your content is definitely fine, so they gave it to their managers to review your channel more carefully and make the decision. @Jay545654 Your channel looks like it's primarily uploading news videos that TV stations made, so yes, that would be duplication. The fact that you have claims and strikes only makes it easier for the reviewers to tell that you're not uploading original content. @joshleongstudios The lyrics videos probably have to go no matter what. As for the travel videos, I'm not comfortable giving you any recommendation other than: You probably would have an easier time if you used freely licensed music instead of taking music you don't have permission to. As for the protected music that you did use, you may want to try getting sync licenses from the relevant copyright holders.
  10. @AAAA This is basically what happens: AdSense automatically clears up invalid click activity between the end of the month and the finalization date (the 15th of the following month). There is some lenience on what it accepts as regular invalid click activity (like: A creator may accidentally click on an ad on their own video while trying to pause a video), and in general, a single viewer trying to support you isn't enough to get your AdSense account disabled, but if you're a constant source of invalid click activity, you'll get kicked. The reason why the measures are so draconian is that fraud is so easy and profitable here: Have a Raspberry Pi set up as server, have a second one configured to refresh the page every second and click every ad and at a CPC of, say, 16 cents per click, you can make well over 500 USD per hour. Of course, doing it like this would be quite obvious and get you kicked before you get your first paycheck from any decent ad network, but it shows you how juicy a target this is for fraudsters – even generating 5 USD per hour with a setup like that would be worth it. Because of this, the ad industry is estimated to lose 9%, or 19 billion USD to fraudsters in 2018 alone, so Google doesn't really want to open up any sort of easy avenue here for fraudsters to try-and-error. Yes, it sucks that as a responsible creator, you'd have to either keep your holiday short, so that you can report anything suspicious to AdSense in time, or do work on holiday, but unfortunately, as was with the YouTube partner program, abusers, scammers and fraudsters ruined it for everyone.
  11. Moin. This article is to explain some common reasons behind the messages that YouTube gives you when rejecting your monetization application. See also: A list of YouTube policies and guidelines Note: YouTube only recently started to hand out rejections for monetization applications in late June 2018. Due to this, this page still is a work-in-progress. How to find the reason? You can find a general reason by going to your monetization page. Details on each reason can be found below. Duplication If your channel is disabled for monetization because of duplication, it means that some of your content is identical with some other content on YouTube. This happens for example if you upload public domain footage royalty-free music videos other people made (reuploads) compilations reading outs of stories posted on other websites recordings of live concerts, DVDs, TV shows, and other copyright infringing activity possibly: unedited, uncommentated gameplay videos* While you may have the necessary rights to upload the video, AdSense has an "imperative of originality", making channels largely based around duplicate content ineligible for monetization. To clarify, using third party footage in videos is still allowed for monetization (if all the licenses are in place), however, having a channel that has a focus on the third party footage (eg a music promotion channel or a compilation channel) is not. * "Videos simply showing a user playing a video game or the use of software for extended periods of time may not be accepted for monetization." says https://support.google.com/youtube/answer/138161?hl=en. So this content getting rejected from monetization is expected, the category it is listed in may be unexpected though. How to fix this? In order to get your channel eligible for monetization again, you need to remove all duplicate content. If all your content is duplicate content, you may want to look at alternative monetization models such as Patreon or merchandise instead as deleting all your videos probably isn't going to be worth it (especially considering that you'd drop to 0 watch hours again without any videos). For uncommentated gameplay content, you may want to do other kinds of gameplay videos, for example heavily edited videos, machinimas, reviews or commentated walkthroughs. You can reapply after 30 days. Impersonation If your channel is disabled for monetization because of impersonation, it means that your channel is confusingly similar to another channel, so for example: same avatar same name same channel banner same thumbnails same videos same video titles How to fix this? Change the points mentioned above to something different. You can reapply after 30 days. View count spam If your channel is disabled for monetization because of view count spam, it means that you have been using means to illegitimately obtain views. For example: View bots Purchasing views from websites promising "real views" Having your own videos running for extended periods of time in the background Participating in exchanges (sub4sub, view4view) Incentivizing people to watch your videos How to fix this? Stop using the above methods to get views. You can reapply after 30 days. Video spam If your channel is disabled for monetization because of video spam, it means that you have uploaded many overly similar videos, for example: "Learn how to count with soccer balls", "Learn how to count with elephants", "... with tires", lipsticks, bees, soda bottles, trains, and so on. In other words, if a viewer could accurately predict how most of your videos will look like after just watching one or two of them, you likely are going to get not approved. It may also mean that you have uploaded other content that typically is classified as spam, ie large amounts of untargeted, repetitive and otherwise unwanted videos. How to fix this? Instead of uploading videos that are mostly based around the same idea and iterate through details, make unique videos. Misleading Thumbnails If your channel is disabled for monetization because of misleading thumbnails, it means that your thumbnails did not represent the contents of your video. How to fix this? Your thumbnail should represent what your video is about. So the easiest way to not go wrong on this is to screenshot a specific frame of your video and use that as thumbnail. You may want to take at the Creator Academy lesson on making good thumbnails: https://creatoracademy.youtube.com/page/lesson/thumbnails You can reapply after 30 days. Other Reasons There may be other reasons that I'm not aware of at the time of writing. If you got rejected for a different reason, please let me know in the comments! The below happens only if you already have been monetizing already and now monetization disabled Repeated submission of ineligible videos and/or insufficient documentation If your channel is disabled for monetization because of repeated submission of ineligible videos and/or insufficient documentation, it means that Videos you submitted for monetization got claimed by a right holder When asked for documentation of commercial use rights, you didn't send sufficient documentation proving you have said rights Videos you submitted for monetization repeatedly were confirmed to be not advertiser-friendly by reviewers How to fix this? There is no fix. You have shown to YouTube repeatedly that you aren't a reliable business partner, and they no longer want to conduct business with you. Invalid Click Activity AdSense has a quite extensive help article on this topic themselves: https://support.google.com/adsense/answer/57153?hl=en TL;DR: Invalid click activity happens if people click on your ads with the intention to generate money for you, rather than because they're interested in the ads. It's up to you as an AdSense partner to report any suspicious activity to AdSense, and to try to not direct any bad traffic (like view-/clickbots) to your channel. How to fix this? If you get your monetization disabled for invalid click activity initially, you'll have to wait for 30 days for your AdSense account to come back – sometimes. In other times or severe cases your AdSense account will be disabled permanently. You can appeal (see the help page linked above), but you'll have to come with a good explanation on why the click activity was valid (eg: "this video suddenly got viral in a certain country and got featured all over the news" if that's why your video got a lot of views in a short time). An appeal that is saying basically "I didn't do anything" is unlikely to help you (because you not monitoring your traffic is the very issue here). As a final note, if this happens to you while you're partnered with an MCN, you'll have to work with them to get your AdSense account reinstated.
  12. YouTube now has 1.9B users In 80 languages and a lot of countries Ways to make money: Ads YouTube Originals (250M views), having an Original show can boost viewership by 20% Super chat: 65% that use it more than double their income during live streams Sponsorships: Renamed to Memberships. Getting rolled out on the main page to "eligible channels" with >100k subs over the coming months Merch: Cooperation with Teespring, avialable to all "eligible creators" in the US >10k subs Tickets: Cooperation with Ticketmaster Famebit: Got a redesign New feature: Premieres. Allows you to start a countdown to get your audience hyped up over a video premiere. Currently in closed beta. YouTube Stories: Rolling out to "eligible creators" with >10k subs later this year. Community tab: has 60M people interacting with it. And that's pretty much it. I left out some sections in which creators appeared to sell YouTube as a product to the industry folks. Note that this was an industry keynote, not a creator keynote. You can see the full thing below Also, there's a blog post: https://youtube.googleblog.com/2018/06/vidcon-2018-helping-creators-earn-more.html
  13. Leo Wattenberg

    Vidcon 2018

    Date: June 20-23 Agenda: http://vidcon.com/full-agenda/ Highlights: The YouTube Keynote, livestreamed at Further information: http://vidcon.com/
  14. Leo Wattenberg

    What to expect from the YouTube Premium launch as a creator

    @AAAA This is where the napkin math somewhat breaks down: You don't get paid per view. You get paid per people clicking on ads, if advertisers want to pay money to have ads there. The CPM is just a rough estimate at an average that tends to be somewhat helpful when trying to calculate these kinds of things; depending on your content, time of year and such, your actual CPM may fluctuate anywhere between 10 cents and 10 euros. CPM doesn't consider full views, just views. So, definitely the math here isn't meant to be used at face value, instead, it's a Fermi estimate showing you roughly in which ballpark the number is going to be in. If you're the only premium user and watch every video equally long, yes. However, the money you pay is thrown into a big pot together with all other premium users and then distributed according to watch time from premium users on the channels. So in an extreme case, if you're a premium user watching a single minute of video in a month, the creator uploading the video won't get 6.60€, instead, they will get whatever a minute of watch time is worth among all premium users.
  15. Moin. YouTube Premium launched today in 12 more countries: Austria, Canada, Finland, France, Germany, Ireland, Italy, Norway, Russia, Spain, Sweden, and the United Kingdom. But what can creators expect from this expansion? Firstly: Mostly nothing. At 12€ per month, YouTube Premium is steeply priced, with no real must-have benefits. Because of this, it's unlikely that too many people will use it, so the impact on earnings for creators should be rather small. Secondly, you can expect a bit more money, as a bit of napkin math shows: Out of those 12€, 6.60€ go to the creators, distributed among creators by watch time. Assuming an average CPM of 1€, a user would need to watch 6600 videos per month to make their Premium subscription as cheap for the creator as a view from a free user. Assuming the average video is 5 minutes long, this would be 33000 minutes of watching a viewer would have to do per month, or 18.3 hours every day. It's unrealistic that the average viewer will spend that much time watching videos, so you very likely are going to see Premium viewers bring you in more money. And some FAQ stuff that we already had when YouTube Red launched back in 2015: Do creators get paid for the free trial months? As per https://youtube-creators.googleblog.com/2015/10/youtube-red-is-here-seven-things-to.html Since the payout is based on Watch Time, does this kill animation channels? Not really. With Red, channels have been running experiments and found that there is no significant difference in payments between a 5 minute video and a 15 minute video, compared to ad revenue. However, there is a difference once you go for the long-form formats, eg podcasts lasting several hours. Further, music content still is paid per view, rather than watch time, so the huge time sink of "someone left a music playlist running over night" isn't going to affect the split as much.

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue.. You can find our privacy policy here Privacy Policy and our terms of service available here Terms of Use