The EDE-model: Exploring, Developing and Established Creators

Moin.

A while back, I posted a thing about “Why Grinding is bad for you” on r/youtubegaming, where I encouraged gaming creators to try different formats, instead of going for the first thing which comes to mind, which quite often is just a Let’s Play. To aid this discussion, I developed the EDE-model, which I wanted to expand on here.

The basic gist of the EDE model is that creators who just are starting out have much more freedoms on what they can do than big channels.

1. The Exploration Stage

At this first stage, a creator just made a channel with the intend to upload something, starting from 0 subscribers, 0 views and 0 videos, or something very close to this. This crucially means the following:

  • Nobody has any expectations on what this channel is going to upload. Because of this, the creator has the tough fate of complete creative freedom where they can do anything.
  • Typical channel recommendations (“upload on a schedule! stick to formats! consistency is king!”) aren’t really applicable yet, because they’re strategies which optimize for existing subscribers and thus require some degree of following to be effective.

My advice for creators at this stage would be to try anything that’s vaguely interesting to them. To not get started doing regular formats and series just yet, but just try everything they always wanted to try. To create as if view counts and subscriber counts don’t exist.

This freedom is not something which you really get later on in the process, at least not without alienating vast portions of your audience.

2. The Development Stage

At this stage, the creator probably has made a few dozen videos (depending on the type of content and effort which went into each individual video), and figured out which kinds of content they want to do more of, as well as which kinds of content they don’t like doing. With the experience they’ve gathered in the Exploration stage, they probably also have considerably better video making skills and equipment than in the very beginning, and possibly already have gotten feedback from friends and family on which videos were nice to watch and which ones didn’t work out as intended.

Based on this, the creator now can start transitioning towards doing what established channels do, namely:

  • Find a niche to be in
  • Develop formats and serial content which can be uploaded on a regular schedule
  • Start putting more care into marketing, ie SEO and good thumbnails/titles

If a developing creator and finds their initial niche to be a dead end for whatever reason – too much effort per video, copyright trouble, getting bored of it – it’s completely fine to go back to exploring other options. This is where it comes in handy to have had this exploration stage beforehand, so they already know what they’d also want to do and come up with a somewhat thought out plan on how to transition between the niches.

But, if you’ve found your idea to be sustainable and fun, you can continue on your path and eventually reach…

3. The Established Stage

At this stage, the creator has probably made hundreds of videos, and is decently well known in their niche. This also is the stage where fans start to become a significant force, be it for promotion, merch sales or patreon stuff. Micro-optimizations can become surprisingly powerful here.

Since their channel probably generates some decent amount of money one way or the other, the creator can invest into the channel much more, be it through buying better equipment, dedicating more time to the channel that they otherwise would be working on a “real” job, or getting opportunities which smaller YouTubers just don’t get. Note though that the money doesn’t come on its own, but drags a whole tail of bureaucracy behind it.

The niche they live in is pretty set in stone and difficult to escape from without losing a lot of attention from subscribers. That said, it sometimes can be very necessary to pivot even as an established creator, eg. if the niche they’re in is very small and/or shrinking, causing the channel to stagnate. Further, because the fans and subscribers have very strong expectations of the channel, it can become increasingly difficult to meet these expectations.

Which isn’t to say that an established creator has a worse fate than someone in one of the other stages; there’s a reason why all the bigger YouTubers can be found in this category. It’s just that it comes with a different set of challenges than a small one, so it’s not like the moment you become established, all your trouble will go away.

Why this model can be useful

Often, creators who start out have a fairly concrete idea of what they want to do, so they skip the exploration stage and then go straight for the development stage. And while this may work, it often times leads to this “small YouTuber mentality”, in which the creator “grinds” out videos day after day or week after week, without getting anywhere, and the advice from peers being “just keep at it, do these micro-optimizations and hope that the algorithm picks you up eventually”.

The problem I have with this mentality is that it reduces something which can be very much fulfilling – video production and the creative process in general – into a 9-5 kinda job in which the modus operandi is “preservere against the odds”, and this job doesn’t even pay well.

My hope is that this model encourages people to pursue extreme levels of creativity at first, and once they know where their creative preferences lie, start making a channel geared towards success.

The SEE–NTS Model. A better model for Online Video Programming.

Moin.

The Hero–Hub–Help model which YouTube developed in 2014 has been a helpful tool for video marketeers to help them understand what they can do on YouTube. Namely:

  • Hero content is big events, which you can advertise in a big way. It gets huge attention on the day it’s happening, and then quickly becomes uninteresting again, such as the E3 presentations.
  • Hub content is regularly scheduled content, to keep subscribers (and viewers you’ve reached through the other content) interested in your channel. This content gets watched by your subscribers in the first couple days after upload, and then basically never again.
  • Help content (originally named: hygiene) is helpful content teaching users how to do stuff, ie tutorials. This content gets found at any time via search, but doesn’t add much value to subscribers to your channel.

Now, this model kinda makes sense if you have a product you’re making videos about. But it kinda breaks down once you put it into the context of a normal YouTuber: It doesn’t make sense to make a big event which only is relevant for a week, so Hero content is out. Hub content is more in line to what YouTubers do, but YouTubers do so much more than make videos which just are consistent and appeal to their current subscribers.

So, out of this model, only a few bits actually are usable for YouTubers, and even these only are so with caveats. So I thought about it a bit and came up with a new model instead:

The SEE–NTS Model

SEE-NTS is short for the following aspects:

The SEE-NTS model can be thought of as 3-dimensional space.
Also, I like to pronounce it as “sea ants”.
  • Subscriber Content. Ie content made primarily for subscribers, featuring funny in-jokes, references to previous videos, stories that make the creator more relatable to their fans and such.
  • Evergreen Content. Ie content which will stay relevant to the world for the (forseeable) future.
  • Event Content. Ie content which is tied to certain events.

— with their counterparts —

  • New Viewer Content. Ie content which is accessible and fully understandable to someone who never has seen any of your content before.
  • Timely Content. Ie content which is relevant during a specific window of time only, and then basically never again, eg news.
  • Serial Content. Ie content which you can sure you’ll see more of next week anyway.

The individual aspects make predictions on whether the view distribution will be flat over time, or have a spike shortly after publication:

  • Subscriber content is watched by subscribers, so it’ll get most of it’s views within the first week of publication, while New Viewer content may get discovered by potential new subscribers at any time.
  • Timely content is only relevant shortly after publication, after which it’s old news. Evergreen content is ever relevant.
  • Event content is most watched during the event (→ Tentpoling), while Serial content is watched all year round.

As such, the model explains why Hero-Hub-Help makes the predictions that it does: Hero content is minmaxed for spikeyness (Event/Timely, with a lot of advertising thrown at it so that talking about the Subscriber/New Viewer axis kinda is pointless), Hub content is Subscribers/Serial/Timely content (and doesn’t nearly spike as high), and Help content is minmaxed for flatness.

SEE-NTS also allows for other content to be categorized sensibly:

  • Mr Beast’s content is no doubt Serial (it’s not really a surprise what he’ll do next), but features some Event-like qualities (he basically makes his own events in each video by giving away a lot of money). His videos are accessible for New Viewers, yet appeal for Subscribers as well. And the stunts he pulls generally age well, so: His content sits pretty much in the middle and manages to more or less cover all bases.
  • A band doing a concert live stream is an Event for everyone who already knows the band (ie Subscriber-ish), but since music doesn’t really get outdated, it also is strongly Evergreen.
  • Videos like “how to decorate your house for Halloween” and similar seasonal content is Evergreen while the (yearly repeating) Event is going on. This kind of content technically could still work for Subscribers primarily, but realistically it’s probably gonna be a optimized for New Viewers.

Using SEE–NTS for Content Programming

SEE-NTS can be used to assess a channel’s current standing to make decisions for future content programming.

Most obviously, if the vast majority of views a channel has come from subscribers and all formats on the channel are made for subscribers, that channel may want to develop a format which is meant to appeal to non-subscribers and draw them in.

If a creator feels like they’re grinding away in a hamster wheel, but can’t afford to take a day off because all their subscribers will lose interest, maybe Evergreen Subscriber content would be able to bridge these gaps in the future.

If a musician can only realistically make one big Event/Evergreen-type video a year and struggles to re-activate subscribers in-between uploads, them making Subscriber/Serial/Timely content in-between to fill the gaps and keep people engaged throughout the year may be useful.

Of course, as always: It’s hard to recommend any specifics without knowing the actual channel. I hope however it can help creators, at a glance, find out where they are with their current programming, and where they have potential left to explore.

Limitations

SEE-NTS as a model doesn’t predict how successful content is going to be, it only can predict the rough shape of the view curve. The real world (and “The Algorithm”) of course can always throw a spanner in the works by having your viewers receive the video differently than what you designed it for.

Unlike Hero-Hub-Help, SEE-NTS doesn’t do content recommendations. For example, it’s not entirely clear to me what Subscriber/Event/Evergreen content would even look like, while for Help content, the hint already is in the name, and thus are the strategies you should take (ie SEO on your customer’s troubles).

SEE-NTS is untested as a tool for content programming. The questions that need to be answered in the future are:

  • Is SEE-NTS useful to accurately describe different channel programming strategies?
  • Is SEE-NTS complete, or are there more factors which are essential for programming?
  • Do creators who use SEE-NTS understand their programming better than those who don’t?
  • Is SEE-NTS useful to find gaps in the content programming?

Overall thoughts

From what I can tell so far, the SEE-NTS model seems promising. Even if it fails as a “practical” tool that can tell creators “do this”, it may still be a worthwhile academical tool as it categorizes content way better than Hero–Hub–Help.

Of course, I’d love even more for it to be useful as a practical tool. I guess time will tell how good this thing is.

Observations of the VTuber scene

Moin. This thing is mostly observations of the VTuber scene a few weeks in. I end up making some content recommendations in it, so it might be useful to long-time VTubers as well, though it shouldn’t be understood as “this is how you should do something”, but rather a “this is how I see it being done currently”.

The obvious

Starting with the obvious: As a VTuber, your body can look like however you want, but your movements and expressions typically are fairly restricted. Even if you are 3D and have roomscale tracking, you still can’t really interact with objects or other people in a convincing way. At least not now, and not in real time.

That said, even with these limitations, being a VTuber just gives you a lot of benefits that you wouldn’t get as a regular person:

  • Full privacy. Which you’d also get doing Podcasts, radio or voiceover-stuff in general, but all of which would lack…
  • Facial expressions. Just having head bops and wiggles and a mouth that can change between an eternal smile and a 😀 when talking is enough of a fixpoint for me that I can actually watch a just-talking-stream of a VTuber without feeling the need to do something else. (For comparison, I cannot listen to podcasts on a couch, as my eyes start to wander off fairly quickly. Which then leads me to doing something else and abandonning the podcast altogether, more often than not.) Now, you also get that just talking to a camera, but then you’d be giving up your privacy.
  • A more-interesting-than-average brand, without doing anything. Even as the most generic anime girl, you’re still way, way more recognizable than a generic gaming channel that has some 3D-dubstep intro as its only “branding” element.

Branding

Umbrella brands are surprisingly powerful. You can see this most clearly with Hololive and Nijisanji IMHO:

The Hololive brand is super strong. Every new member gets to start out with thousands or tens of thousands of subs, simply because it says “hololive” next to it. And that already sets expectations: It’s going to be a woman, the woman is going to be an idol, and there in general won’t be any unbearable technical issues.

Nijisanji in contrast doesn’t have these expectations as strongly, although their members also start with at least a few thousand subscribers. That is partially because there’s just so many more members, partially because new members could be anything, man or woman, quality ranging from good to “average new YouTuber”, technical ability ranging from good to permanently clipping audio. That said, Nijisanji is offering quite a valuable service (VTuber avatars and support) to quite a lot more people. And this non-exclusivity gives the company quite a bonus in my book.

Update: It has been pointed out to me by various people that I completely misunderstand Nijisanji and the impact they’ve had, and that Nijisanji ID’s technical troubles are more a problem of Indonesia not having that good of an infrastructure. The problem is, these technical issues, though not their fault, are translating into what image I’m seeing of them, and all the awesome stuff they did in the past is invisible to me, unless I really start digging. To be clear, this is an issue of the brand, not an issue of the individual creators among them. And even though the different regional branches are more or less independent from each other, the overall brand still is Nijisanji Region (apart from China), not some wildly different naming like you get with Mars, Twix and Snickers (which all belong to Mars).

These umbrella brands are fairly rare on YouTube these days. For me, only Machinima comes to mind. Like, even the EDUtube empires of the Green brothers or Brady Haran don’t have an umbrella brand. Instead, they have SciShow and CrashCourse with direct sister channels, but keep those brands fairly separate.

Formats

Formats really matter. Most VTubers are doing game streams and talk streams. Those who do game streams tend to get discovered better, while people who do talk streams tend to get loads more super chats. For example, Flare manages to out-rank Aqua in super chat revenue, despite having less than half her subscriber count.

Doing unique formats which are more than just the generic talk/game streams also seems to be an advantage:

  • Coco grew insanely fast with her Asacoco news show,
  • 3D shows (especially 3D debuts) perform super well,
  • non-standard game streams like speedruns/races work quite well, and
  • non-standard talk streams (interviews, fairy counselling, etc) work as well.

This is true across all of YouTube, btw: Having a unique format at least gives you a chance at standing out, and even though you run the risk of having a format which just doesn’t resonate with viewers, you at least are looking for doors with each format you try instead of bashing your head against the wall with generic gameplay in the hopes of breaking through eventually

Highlights and clips are super important, especially for the Japanese scene. I don’t think Fubuki would be where she is now without her viral meme videos, I don’t think any of them would have anywhere near that large of an international audience if it wasn’t for the translators and the translators only translating highlights, rather than whole streams.

I do think that VTubers (and streamers in general) should try hiring fans to make highlight videos and upload them to their own channel, so that their channels become more accessible for those living outside of the normal streaming timezones. Nijisanji in particular has been getting better at that recently, on their company channels at least.

Misc.

Ultra-low-latency with DVR disabled is everywhere. I don’t think this is benefiting any channel that gets more than 100 concurrent viewers or so, because at those sizes, the chat starts being more delayed than the stream itself. This is because YouTube polls chat at set intervals for new messages instead of sending out each message on its own, and those poll intervals get rarer with more messages being sent.

Also, it makes it rather difficult to watch the stream on slightly subpar connections, or just if you’re half a planet away. This is because any rebuffer that sets back the latency to >5s will cause another rebuffer and skip ahead, resulting in large parts of the stream just being constantly buffering. Really as soon as you’ve got a few viewers, Low Latency is the way to go, with normal latency being great for anything which doesn’t have any meaningful chat interaction built in (eg singing streams).


Sexuality is quite a thing. It probably is easier to be that sexual in public if your real face isn’t attached to it, and it’s quite surprising how far you can get with that on YouTube without even being demonetized. On top of that, it tends to generate quite entertaining content by default. That said, I think the process of sexualising others is more problematic among the VTuber scene than other communities on YouTube, whether that is fans commenting on it on every occasion, bosses putting their talent into swimsuits, or character designs having tits so large that you’re running out of alphabet to describe them. I hope for the women involved that the disconnect between their character and the real person can helps with this.


VTubers in general seem to do disproportionately much live content, with the notable exceptions being Kizuna AI and Ami Yamato. I think there’s a lot of potential for non-live content which strictly works with motion capturing (as opposed to hand-animation). It doesn’t need to be the current livestreaming VTubers doing that either; in fact, most of the VOD content I see from the current live-VTubers is somewhat similar to the early 2006-level YouTube nonsense. There really is a lot of different directions to explore here. Putting it out there right now: I want to see a VTuber with a degree in Astronomy teach me about Supernovae.


VTubers being mostly Japan-based obviously results in a lot of Japanese content. The search interest in the USA in VTubers is growing quickly though, so any VTuber who can do English content is at an advantage here. Also, assuming that VTubers become popular in the US, you can bet that they’ll spread to the rest of the world as well, so it might be worth to start doing VTuber content in your local language, so that by the time it gets big, you’ll already be ready and at the forefront.


A lot of VTubers have been doing daily streams. And while that definitely isn’t bad, please, do yourself a favor and take days off, where you don’t spend a single thought on your channel. Daily content tends to be unsustainable, with even the largest YouTubers burning out with that after just a few years. More well-being advice can be found in the Creator Academy.

Overall, …

… I’ve been very impressed by how compelling the content various VTubers make have been to me. I’ve never watched more than 5 episodes of Anime I think (including Pokemon or the Simpsons), but the charme of a dog girl doing cute things while playing Doom, or a chubby devil trying to convince an art student that eyes don’t grow back just gets me. More recently, I’ve been hanging out with the Indonesian crowd, as their content is 75% English anyway, so I actually have a chance of getting the jokes.

In that sense, otsuu, I’m strapped in and ready for a wild ride.

In Defense of Redesigns

Moin.

Every time a site updates it’s design, it seems like the internet comes together to unanimously complain about it. And mostly, these complaints are justified, after all, redesigns completely disrupt normal usage. But are the users right and should we stick to the old designs?

And to get the conclusion out first: Complaining constructively during the redesign phase is the best way to get heard. However, some of the more common complaints will be ignored, and here I’ll go through the why.

“It looks like a mobile app!”

This is intentional. The goal with most redesigns these days is to make it so that you can seamlessly switch between devices and still know how everything works from one device to another. This is hugely beneficial to new users learning the ins and outs of the site. After all, learning it once and applying it everywhere is easier than having to learn how the desktop site, tablet, mobile and TV apps work if they all have a very different UI.

That said, it absolutely is possible to fuck this up. I sometimes see sites with a hamburger menu that overlay the entire site once you click on it. This never is necessary on desktop. Using a dropdown, or, if the menu needs to be more persistent, a topbar/sidebar is better in these cases.

“There’s too much whitespace!”
and
“The buttons are too large!”

Whitespace, colors and images are a deliberate measure to make an information flood more manageable. As an example for this, compare these two scans of newspapers, from 1973 and 2011

1973: 10 headlines, tiny news index in the bottom center, columns separated with lines (except bottom right), relatively small images
2011: 6 headlines, news index takes up the lower 15% or so, columns separated with whitespace, sometimes lines and whitespace, top image primary eye catcher

Whether you use a line or whitespace between columns doesn’t matter if you really want to read an article. But it does really matter if you don’t want to feel completely overwhelmed by everything presented at once on a page. And this holds true not only for newspapers, but also for websites: A newspaper only allows you one function: You can read it. But god knows how many things you can do with a website.

So again: The point of the added whitespace and larger buttons is to make it easier to use the site for new people.

“They removed customization!”

Customization options always have two issues: For one, every option doubles the number of ways a thing can break, and at some point, it’s a bug bonanza. For another, deep customization makes it difficult for new users to find their way around the site.

For example, imagine a “follow” button that can be customized in appearance and position. If it sometimes is a green button in a corner, a red button sticking at the top of the screen, and sometimes an image saying “subscribe”, the simple task of clicking the follow button devolves into an extensive hide-and-seek game with a digital chameleon.

aside: about HTML customization

Regrettably, customization via HTML and CSS these days isn’t as easy as it used to be. Back in the day, you’d put <tags> around things to do something for you. Back in the day, everyone was on 1024×768. Back in the day, there were no smartphones. This meant that you could easily learn a “streetHTML” that did the things you wanted, tested them on your computer, and had a thing that would be roughly consistent with how everyone else saw it.

That isn’t the case anymore. streetHTML gets more and more broken by the actual standards, which have you put <tags> around things that do nothing, only to then specify somewhere else in CSS what those tags do. As for screens, not only is there a wider range of monitors around these days, but some of these monitors are an entirely different orientation usually – phones. And hobby coders tend to do things with a “works for me” attitude: Willing to make things look good for them, but not even considering the option to test on a phone, because, who uses a phone to browse that website anyways?

Usually, the answer to that question is: Half of the viewers. So, as a website owner that offers HTML/CSS customization, you now facing the choice between having a thing that may turn simple things into hide’n’seek games, potentially look awful for half the viewers, and has gotten a lot more difficult to use since you first implemented it in 2004 — or simply axing it.

There is only one sane option here, even though it unfortunately means that you are losing what makes the internet interesting, as well as a tool that teaches kids how to code (Neopets was more effective in getting girls to code than any government-sponsored thing, I dare say).

“Make the new design optional!”

This means that the developers have to work twice as much to keep everything not-broken, while also having either version used half as much as the userbase splits into people who use the new vs old design.

Maintaining this is possible. For example, Wikipedia still lets you choose it’s old “Monobook” design, or some more exotic ones. But even Wikipedia removed all designs except one from its core, kept a few bundled as long they were maintained by external volunteers, and completely killed off some designs.

Overall, the more different designs the site has to maintain, the harder it becomes to quickly develop new things that actually would be beneficial to everyone, so typically, after a transition phase, the old design gets axed.


You may have noticed that a lot of these explanations boil down to “it’s good for new users”. But what about old users? Users that have been on the site for long, have created the content that brought the site to where it is today? Shouldn’t the site cater to these people first and foremost?

The answer is no. If you have a site consisting of a bunch of long-term users, but which doesn’t attract new users because of its design, the site will stagnate. Which in itself wouldn’t be much of a problem; being level means you can continue operations as-is. But these long-term users will move on eventually. Either because their interests shift, because their new job no longer grants them the time to contribute to the site, or because they die. At which point, the site will slowly shrink and die as well, especially if it has large enough server cost due to hosting a decade worth of image and video content.

This is why redesigns are necessary. This is why some complaints never are heard (or at least never acted upon). And this is why long-term users don’t get the attention they’d deserve. Website owners must attract new users, else the site dies.


All that said, there’s one thing which I’d like to say to any site owner redesigning their stuff:

COMMUNICATE!

If you don’t want to piss off your existing userbase, you have to communicate your vision with the redesign. And I’m not talking PR-bullshit here, you won’t win people over with a sugary landing page on how this new design gives endless possibilities when you are taking customization features away. No, a redesign requires a level conversation with your userbase that makes it clear what you’ve been working on (changelogs), what you will be working on next (roadmap), what the overall goal is and most importantly, being human about it.

And Users:

CONSTRUCTIVE CRITICISM!

The following:

“please bring back x”
“make it look y”
“I hate this”

aren’t helping anyone. They don’t help you because there’s no chance that the redesign won’t be happening, and they don’t help the site developers because they’re missing crutial information:

  • What are you trying to do on the site?
  • Why? and
  • How are you currently doing this?

(from Never Ask What They Want — 3 Better Questions to Ask in User Interviews)

If you can answer these questions in your feedback, it becomes so much more actionable than “please bring back this feature”.

For example, imagine a site that used to have a pop-up which you closed by clicking on a triangle to the left and dragging the pop-up-slider down.

from Tantacrul’s Music Software & Interface Design: MuseScore – A good video. You should watch it.

Imagine now that the redesign no longer has the little triangle. If you say “please bring back the triangle”, you may or may not get it back, but the devs won’t be any wiser as to why you need the triangle.

But if you instead say:

“I’m trying to close that popup as quickly as possible, because I want to look at the content and the popup isn’t relevant to me. Before, this was done using the triangle and pop-up slider”

the devs now know what you want to do and why you want to do it, so they can build a new feature for it (maybe that x shouldn’t be just decorative?), but also know how you did it before, so they can check whether or not the old solution is sufficient.

Of course, this popup example is trivial. But most things are more complicated than this and really benefit from constructive criticism. So:

Users: if you want a redesign to improve, do keep your criticism constructive.

Website owners: if you prefer constructive criticism over endless shitstorms, listen to the criticism and be transparent about your actions.

Pornhub is not the savior of online video, and vimeo is not an alternative to YouTube

The discussion often goes as thus: YouTube sucks and is getting worse. Making a competitor is difficult, you need a big infrastructure for it, and Pornhub apparently has it and just would need to quickly make a copy of its website, rename it and open it for uploading of normal, SFW content.

But Pornhub neither has the right business model, nor the right infrastructure for this.

Pornhub’s parent company, Mindgeek, is not only a platform operator. It also owns lots of the studios that upload to Pornhub: Brazzers, RealityKings, DigitalPlayground, and others. Pornhub acts as a trailer site for these studios, with the “uncut” videos only being available via a 10 USD/month Pornhub Premium, or a 30 USD/month studio subscription. Further, the ads seen on Pornhub are served through the trafficjunky network – which is also owned by Mindgeek.

With this model, Mindgeek managed to put itself into a position where they are to porn what YouTube and Netflix combined would be for normal video. Competitors do exist, especially for their studio business, but the studios have to go through Pornhub if they want to get recognition by non-paying users, or money through Pornhub premium. For their platforms, a lot of what seems like competition actually isn’t: RedTube, YouPorn and others are owned by Mindgeek, too.

However: This model translates poorly to non-porn. The production cost of premium movies is astronomical compared to premium porn: Just think of the number of settings and actors typically involved. And the willingness of customers to pay 30 USD/month to access the works of a single studio is rather low.

On top of that, while Pornhub has lots of viewers, Pornhub only has 8 million videos uploaded. For comparison, people who

  • Were playing Call of Duty: Black Ops
  • On the PS3
  • Between 2010 and 2015 and
  • Wanted to share a funny clip with their friends
  • Without creating their own YouTube account

uploaded 1 067 410 videos to the default CODblackopsPS channel on YouTube. In other words: A decade ago, one game could get a video volume on YouTube in 5 years that’s in the same order of magnitude as all of Pornhub is over its life.

So, overall: Pornhub is nowhere near having an infrastructure that could compete with YouTube, and even if it had: Why would they? Free video hosting still is expensive. And it still comes with a huge portion of legal and moral issues attached: Copyright, now with Article 17. Spam. Terrorist propaganda. Hate. Gore. Livestreams of shootings. Pedophiles.

Who would risk a dominant position in an industry that probably won’t go away anytime soon to get into this space voluntarily?

Speaking of which:

vimeo is not a YouTube competitor.

YouTube is a free platform where you can upload videos in a decent quality, livestream and make money.

Vimeo is a platform where you need to pay to upload any meaningful amount of data, and 70 EUR/month if you want to livestream. The only way to make money on it is to sell access to your videos just like you’d sell DVDs.

Vimeo is not a YouTube competitor.

Their video quality is great though.