Using Ads Is Not Just About Paying For Advertising Services And All Is Done, But You Must Have Some Preparation Such As Content, Copywriting, And Attractive Design To Provoke A Response From Your Potential Customers. Here’s What YOU Need To Do :
Research And To Find Your Target Audience
Research tool (google ads/social media ads) that suit for your business
Getting the best match video and graphic design that suit for your niche
Editing them (ads design) and hope to get a good conversion
In fact, the complete process is very time-consuming. Moreover, it requires proper Technical knowledge of the software you are using during the process. You can use Power ADS for digital advertising needs in the form of animation or graphics, therefore you can render it in various formats according to your needs.
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The YouTube channel “Annie Guli” is run by Guli Abdushukur, a young woman in the Xinjiang Autonomous Region in western China. Her videos seem to cater to a global audience hungry for authentic snapshots of China’s rural life, and the sweeping beauty of its far-flung border regions. A video of Abdushukur making a mouthwatering dish of hand-rolled noodles has been viewed more than 600,000 times.
The channel claims to show a viewer the “real Xinjiang” through its videos. “The hometown of this pretty Xinjiang girl, with beautiful snowcapped mountains in the distance and delicious food — would you like to visit?” asks the title of one of the videos. In a region commonly shown as the subject of strict surveillance, cultural erasure, and human rights violations, this is not the case, Abdushukur appears to say; rather, it’s a land of rustic family traditions, clear blue skies, piles of freshly picked Xinjiang cotton.
YouTube has been blocked in China since 2009. Accessing a blocked site by VPN is considered one of many “cyber pre-crimes,” with especially harsh consequences for ethnic Uyghurs. As a result of the Chinese government’s long-standing repression of the group, Abdushukur would normally be blacklisted for even opening YouTube, suffering hefty repercussions from state-issued threats to detention and political indoctrination.
Even a globally celebrated creator like Li Ziqi — by far the best-known example of this rural genre, depicting a timelessly Chinese way of life — should not, by rights, be on the platform. So, how have creators from Abdushukur to Li Ziqi consistently skirted the Great Firewall to appear on YouTube?
Through a content analysis of over 1,700 videos posted by 18 YouTube accounts, my colleagues Fergus Ryan, Hsi-Ting Pai, and I traced the journey that this content makes from usually remote areas of China’s borderlands onto YouTube’s feeds.
These “frontier influencers,” as we call them in our latest report for the Australian Strategic Policy Institute, are typically closely vetted by the Chinese Communist Party (CCP). Creators, mostly young women, post videos about ethnic-minority lifestyles, representing carefully honed efforts to support party-aligned messages such as rural revitalization, ethnic unity, or Mandarin fluency.
Their content then enters an international distribution machine via tens of thousands of media companies, offshore and in China, which monetize and help distribute their videos to a global audience. Abdushukur’s channel, for instance, is contracted with WebTVAsia — the same influencer media company that managed Li Ziqi’s YouTube content — a Beijing-based agency owned by Malaysian entertainment company Prodigee Media.
(Li Ziqi disappeared from the platform in July 2021, reportedly from a dispute with local management company Hangzhou Weinian.) Prodigy Media is officially certified by YouTube, which, importantly, allows it to bypass the platform’s monetization restrictions for Chinese accounts. (Technically, China is not part of YouTube’s Partner Program, which impedes China-based accounts from monetizing their content.) WebTVAsia alone runs over 600 channels for influencers based in mainland China.
Companies like WebTVAsia are known in the industry as multi-channel networks, or MCNs. They act as middlemen who enable domestic internet celebrities to access the international market, providing a back door through the Great Firewall via a presence in a neighboring country and often directly managing the publishing of content on platforms like YouTube. According to a report on China’s short video industry, a local boom in MCNs began around 2018, and by 2020, China had over 28,000 such registered companies.
Headquartered in Kuala Lumpur, WebTVAsia claims to be one of the top MCNs in Asia, breaking 5 billion monthly views and reaching over 600 million people around the world. In November 2019, Zhou Xinni, the international business and marketing director of WebTVAsia, took part in a panel with other industry representatives. One of the topics discussed was the importance of “firmly practicing core socialist values, starting from ourselves, to help the healthy development of the industry.”
MCNs are closely linked to the Chinese party-state, particularly the departments of information and propaganda, and cyberspace administration. In addition to managing influencers, they also operate non-influencer channels: WebTVAsia devises content for official party-state media outlet People’s Daily.
Like most other companies operating in China, they are obliged to run internal party meetings, and even carry out the socialist tradition of criticism and self-criticism sessions. We know through the companies’ social media posts on Weixin, along with government documents, that they follow party regulations, and must abide by the strict censorship rules applied to all Chinese media.
Because frontier influencers’ videos are first published on Chinese domestic platforms and produced with the help of MCNs, they go through several layers of censor and regulatory scrutiny. This ensures that only stories either overtly or indirectly resonating with official CCP perspectives make it — eventually — onto international platforms. Some of Abdushukur’s most popular videos, picked up and amplified by state media, praised cotton produced in Xinjiang, an industry tainted by forced labor allegations.
In a video posted on October 17, 2021, Abdushukur shared brief footage of a Zoom conference in which she had taken part to discuss coverage by “dishonest foreign media outlets” on human rights abuses in Xinjiang. These videos are stylistically integrated into the myriad of lifestyle videos that Abdushukur regularly posts, clearly aimed at an international audience and, in particular, the Chinese diaspora.
In the longer term, YouTube and other platforms’ search-engine algorithms factor in fresh content, prioritizing channels that post regularly. The continuous stream of videos from these accounts contributes to the filtering-out of dissenting Uyghurs and other ethnic groups, ensuring that credible — but stale — content gets swamped by a parallel litany of Xinjiang’s beautiful scenery and delicious food.
This type of content is growing in volume and popularity: Inside China, many of these accounts have millions of followers. It helps that they’re continuously amplified by authorities and associated accounts across multiple platforms.
In the words of Chinese media scholar Zeng Qingxiang, the nation’s YouTubers, TikTok stars, and other wanghong (internet celebrities) are “guerrillas or militia,” fighting on the flanks in “the international arena of public opinion.” What we’re seeing is an ever-evolving information contest, where the borderlands are also the frontlines.
Following in the footsteps of Netflix NFLX+8%, Disney, Amazon AMZN+3.5% and Instacart, Uber UBER+0.5% announced this week its intent to establish a corporate advertising division and the launch of Uber Journey Ads, which will allow brands to connect with consumers throughout the entire rideshare experience. The new business will join Uber Eats, which has been displaying in-app restaurant ads for two years.
Uber’s press release crowed about the potential to leverage its extensive first-party data across mobility and delivery interactions, presenting the world’s largest companies with a compelling opportunity to reach 122 million active users who make or order almost 2 billion trips per quarter on Uber’s platform.
At this scale, Uber’s new business does show promise in delivering much-needed high-margin revenue by selling targeted ads that exploit unique insights on customer lifetime travel behaviors and trip-specific destinations. Moreover, by controlling its own customer data and user app, Uber can sidestep Apple’s AAPL+2.7% and Google’s GOOG+0.9% growing restrictions on ad-tracking tactics.
But what about consumers? What makes Uber Journey Ads a good deal for them? Uber has always relied on convenience as its most compelling consumer value proposition, namely the ability to be whisked from any point A to B, at any time, with frictionless payment, all with the simple tap of a smartphone. While Uber initially was also cheaper — not just better — than traditional taxi service, over the past five years Uber has sharply raised prices, to the point where consumers now routinely pay premium prices for Uber’s service.
Uber’s rideshare trip growth has slowed from the heady era of price-subsidies, but there are still plenty of customers attracted by Uber’s convenience, and the company’s financial performance is actually better (or less bad, depending on your disposition) than it has ever been. But with in-app ads, Uber now expects rideshare customers to be comfortable with the need to continue paying premium prices, despite now being bombarded with what may be unwanted or possibly creepy ads. Remember, Uber knows who you are and where you’re going.
From a consumer perspective, Uber’s Journey Ads program would be analogous to Netflix announcing that they were introducing ads to everyone’s streaming feed, but keeping subscription prices the same. Uber’s new ad business chief, Mark Grether, claims that the addition of ads would ultimately make rides cheaper for consumers, but declined to say how much.
Really? Cheaper than what? Uber’s consumer pricing algorithms for ridesharing service are completely opaque to consumers. Fares used to be based on published rates per-mile and minute (similar to taxis), adjusted as necessary for supply/demand imbalances, expressed as an explicit “surge” multiple over base fares.
But in 2016, Uber switched to “Upfront Fares,” where the company abolished its rate card entirely, simply quoting passengers a flat fare at the time of a trip request, which passengers are free to accept or reject. In that respect, passengers may know upfront what any given trip will cost, but as to why prices can and do vary considerably from trip-to-trip, Uber isn’t upfront (as in transparent) at all.
Uber almost doubled its average rideshare prices nationwide between 2018 and 2021, and reports of extreme fare levels have increasingly surfaced, for example airport-to-city center Uber fares exceeding the passenger’s air fare.
Do large price swings from trip to trip simply reflect dynamically shifting surge conditions as always, or are different factors at play? Can different riders sometimes be charged different rates for exactly the same trip? If so, why? As passengers, we simply have no way to know what prices to expect when ordering an Uber rideshare service.
As such, Uber’s Journey Ad promise to reduce consumer rideshare fares by an unspecified amount sometime in the unspecified future rings hollow when compared to crystal clear price transparency in the streaming video market. For example, if you want to binge on Bridgerton to your heart’s content without pesky interruptions, Netflix’s standard monthly streaming rate is $15.49. If that price is a bridge too far, and you’re willing to accept ads, the monthly rate drops to $6.99, a 55% cut.
It’s also important to note that Uber’s mobility and delivery businesses are fundamentally different. Customers opening the Uber Eats app may not know exactly what restaurant to order from. That’s what makes ads on food apps (and Amazon.com for that matter) so devilishly effective. Most customers in these cases are definitely going to buy something, but can be influenced by ads in considering their alternative choices.
But for ridesharing, customers know precisely where they are going and why, so ads are far more likely to be viewed as an annoying distraction. That is, if they’re seen at all. It’s fair to assume that most customers don’t sit in their ridesharing vehicle staring at Uber’s app, as opposed to Netflix, where staring at a screen is the whole point of the service. As a result, Uber plans on hitting consumers with ads at all three journey stages — the waiting-for-pickup screen, enroute, and post-trip.
In fact, Uber plans to sell ad “blocks,” where advertisers willing to pay can gain exclusive access on display ads on Uber’s app at every journey stage. Consumers, this isn’t the way it used to be! For some customers of course, the final, and perhaps most concerning aspect of Uber Journey Ads is the potential creepiness of it all. To be sure, Uber has given strong assurances that it will not share or divulge personal information under its targeted ad program.
But regardless of the level of aggregation Uber may use in its algorithmic target market segmentation, there are four reasons for potential concern.
Advertisers always value (as in more ads at higher CPM rates) more granularity in targeting prospective customers, so there are natural incentives favoring targeting accuracy over consumer privacy
Location-specific tracking has always been a particularly sensitive privacy issue, which lies at the heart of Uber’s new mobility ad service
This sensitivity was clearly on display in the widespread moral outrage following revelations in 2014 that Uber employees freely accessed a “God View” program to track individual customer movements. To settle the ensuing embarrassing government investigation, Uber agreed to submit third-party audits of its privacy practices to the Federal Trade Commission for 20 years
As recently as last month, Uber suffered another serious data breach. A security engineer who corresponded with the person claiming responsibility for the hack reported, “They pretty much have full access to Uber; this is a total compromise, from what it looks like.” Such incidents add to lingering concerns with Uber’s trustworthiness and security in handling sensitive consumer data.
Uber has failed for years to create sufficient value to adequately reward all its stakeholders — consumers, drivers/couriers, restauranteurs, and company shareholders — forcing the company to play one off against another, in what has become a long-running pursuit of profitless growth.
The addition of Uber Journey Ads is a perfectly logical business initiative for a company under increasing pressure to produce attractive investor returns. But make no mistake about it:Uber’s advertising initiative is intended to extract value from consumers for the benefit of Uber’s shareholders and advertisers. Consumers, you’re being taken for a ride!
After a decade during which ultra-low interest rates and abundant market liquidity grew Uber and Lyft. into start-up giants and eventual IPOs, the rideshare model is under a great deal of stress.
Even with consumers bouncing back and ride numbers way up from pandemic lows, stocks of both companies are tanking after their latest earnings, and from wage inflation to unionization and gas prices, the current economy is not one that favors their business models.
In many respects, Uber and Lyft today are much more like big corporations than a reflection of any original definition of a local “rideshare” community, but one thing remains true: consumers do want alternatives to owning a car and traditional public transport options. Nearly 36% of U.S. adults say they have at one point used a ride-share app like Lyft and Uber, according to Pew Research.
If anything, the pressure on the top “rideshare” companies may leave room for additional models to make their case. Getaround is an example. Founded in 2009 and, along with Uber, an original CNBC Disruptor on the inaugural 2013 list, its mission has remained transitioning society away from every licensed driver in the world having a car: simply walk up to cars that are parked all over the street and tap an unlock button on your phone.
The IPO market may not be receptive right now, but its executive team and investors are betting that the concept will continue to grow.
“What’s happening in transportation is a slow moving kind of shift from ownership to access, and that’s building momentum over time,” said Elliot Kroo, CTO and co-founder of Getaround. “More and more people are looking at alternative transportation options, realizing that car ownership is very expensive.”
The pandemic and the related global supply chain issues, as well as robust consumer demand, have led to steep increases in prices of both new and used cars. Kroo said that while more people use car-sharing services like Uber and Lyft, more people are also thinking about getting rid of their cars.
The pandemic and the related global supply chain issues, as well as robust consumer demand, have led to steep increases in prices of both new and used cars. Kroo said that while more people use car-sharing services like Uber and Lyft, more people are also thinking about getting rid of their cars….To be continued…
LOS GATOS, CALIFORNIA - APRIL 20: A sign is posted in front of Netflix headquarters (Photo by Justin ... [+] Getty Images
The thing about free TV is that, while it has ads, it’s … free. Netflix with ads, however, will not be free, the company announced today when it finally provided details about the long-anticipated ad-supported version of the most popular streaming long-form video platform on the planet.
The new Netflix tier is called Basic With Ads, and it’s launching in 12 countries in November for $6.99 US. Basic with Ads joins existing Basic, Standard, and Premium plans, and includes:
Almost all of Netflix in terms of shows, but not all
Some movies and TV shows won’t be available due to licensing restrictions
720P video quality, not 1080P or 4K
Permitted use on one device at a time (can be a phone, tablet, computer, or TV)
4-5 minutes of ads per hour which will play both before and during content
15-30 second unskippable ad units (you also can’t fast forward during ads)
Ads will be targeted by country and type of show you’re watching, but also what Netflix knows about you (for example: age, gender, location, and what you watch on Netflix)
Ads will not be shown on kids’ profiles
No ads will show during Netflix games
No ability to download shows for offline viewing, like on a flight or trip to the no-internet-here cabin
Genuine question: will the number of people watching on kids’ accounts grow as a means to avoid ads? I guess we’ll see. “We’re confident that with Netflix starting at $6.99 a month, we now have a price and plan for every fan,” Greg Peters, Netflix Chief Operating Officer and Chief Product Officer said in a statement.
“While it’s still very early days, we’re pleased with the interest from both consumers and the advertising community — and couldn’t be more excited about what’s ahead. As we learn from and improve the experience, we expect to launch in more countries over time.” It’s probably true that Netflix has a price and plan for most fans, but not all if you want good old-fashioned free TV.
Granted, that’s rare today given that most people pay either for cable, satellite, or streaming services — or some combination of those three — plus of course internet access fees. But some still get terrestrial TV for free: in the UK, for example, people can get 70 free-to-air standard channels, 15 HD channels and around 30 radio services over digital terrestrial TV. There are hundreds of TV stations still broadcasting over the air in the US as well.
For streamers or those considering it, $7 is not onerous, and probably neither is 4-5 minutes of ads per hour. And the ability to watch what you want when you want is also worth something. Of course, as we’ve seen with other media, the percentage of time and space allocated to advertising seems to inevitably creep upwards.
The question now is: will other streaming services like Disney+ and HBO Max start to follow suite with their own cheaper ad-supported services? Basic with Ads will be available in these countries at launch: Australia , Brazil , Canada , France , Germany , Italy , Japan , Korea , Mexico , Spain , UK , USA.
What was once believed unthinkable is now a reality: Netflix with ads is here.The streaming giant unveiled “Basic with Ads,” its much anticipated ad-supported subscription plan, on Thursday. The new tier will cost $6.99 a month in the US and be available Nov. 3 in the US, Canada, Australia, Brazil, France, Italy, Germany, Japan, Korea, Mexico, Spain and the UK.
The company said that “current plans and members will not be impacted” and that “Basic with Ads complements our existing ad-free Basic, Standard and Premium plans.” The new option will feature much of what’s available with Netflix’s current $9.99 a month Basic plan, but will include an average of four to five minutes of commercials per hour.
Those ads will be 15 or 30 seconds in length and will play before and during TV series and movies. Netflix (NFLX) noted that it will offer broad targeting capabilities by country and genre to help “advertisers reach the right audience — and ensure our ads are more relevant for consumers.”
“Advertisers will also be able to prevent their ads from appearing on content that might be inconsistent with their brand (e.g. sex, nudity or graphic violence),” Netflix said. The company said that it is working with ratings tracker Nielsen in the US in 2023 “to enable advertisers to understand how Netflix can reach their target audience.”
“While it’s still very early days, we’re pleased with the interest from both consumers and the advertising community — and couldn’t be more excited about what’s ahead,” Netflix said. “As we learn from and improve the experience, we expect to launch in more countries over time.” In a first, Netflix’s ‘Knives Out’ sequel will play in theaters for a week
The debut of the ad-supported subscription plan is a momentous moment in Netflix 25-year history. CEO Reed Hastings said in April that the company was open to adding commercials to the service, sending shock waves through the media and advertising industries as Hastings had for years been adamant about not putting ads on the platform.
“We … are advertising free,” Netflix said in a letter to shareholders in 2019. “That remains a deep part of our brand proposition.” But after a nightmarish 2022, the platform can no longer stick to that approach. In April, Netflix disclosed that it lost subscribers for the first time in more than a decade. Following that news, the stock tumbled, and the company lost billions in market cap, hundreds of employees were laid off and doubts ran rampant about the platform’s future, raising questions about the viability of the entire streaming marketplace.
In July, Netflix announced that it will partner with Microsoft (MSFT) to enhance sales and technology for this new subscription plan. Ultimately, Netflix needs more revenue and ads is one way to achieve that. This doesn’t mean all subscribers will have to watch commercials since existing plans will stay ad-free, but there will now be a choice between a cheaper ad-supported plan and a premium one. Ultimately, the Netflix of the future is bound to look different than the Netflix users have come to know.
Using Ads Is Not Just About Paying For Advertising Services And All Is Done, But You Must Have Some Preparation Such As Content, Copywriting, And Attractive Design To Provoke A Response From Your Potential Customers. Here’s What YOU Need To Do :
