"Vanishing," "Enhancing," "Live"—Three Keywords to Understand the "Video Generation" on SNS

The Media Innovation Research Department at DENTSU SOKEN INC. has been researching "visual communication utilizing photos and videos" among smartphone users since 2015. In our latest survey, for which we recently issued a news release, we focused specifically on "video" and summarized its trends under the keyword "ES-M-L in the Video Era."

This article explains ES-M-L while extracting key points underlying these trends: "Emphasis on flow experiences over stock," "Increased immediacy in communication," and "Progress in consumers' self-expression and mediaization." We explore the characteristics of the current communication environment revealed by these points.

The keywords are ES (Ephemeral/Short), M (Amplify), L (Live)

A distinct trend among young smartphone users is not just "watching videos for enjoyment," but also "creating videos as a tool for communication." We have summarized the characteristics of the video services used by this younger generation on SNS and their information behaviors there under the following keywords.

・"Ephemeral/Short" (disappearing/short videos)
・"Moru" (image/video editing)
・"Live" (live streaming on SNS)

Taking the initial letters, this forms "ES-M-L".

Taking the initial letters gives us "ES-M-L".

In other words, they: ① prefer creating and consuming short videos, ② embellish themselves and their experiences to turn them into content, and ③ focus on sharing what's happening right now through live streams. Let's take a closer look.

① "ES (Eph: Ephemeral/Short)"

The Rise of Ephemeral/Short Video Formats

Here, we refer to videos that disappear after a set period as "Ephemeral" (fleeting, one-day-only). We call videos that are self-contained in a short length, and the mindset of users who seek them, "Short."

Various studies indicate smartphone users increasingly prefer short-form content. Furthermore, as risks like screenshots of email or messenger exchanges spreading widely became known, the value of "disappearing = leaving no trace" began to be recognized. For younger users especially, the very fact that what they post "doesn't stick around" can be sufficient reason to actively use a service.

Against this backdrop, services featuring "short-lived" content are gaining widespread popularity. Snapchat and Instagram's "Stories" feature, in particular, deserve attention as services embodying both E and S characteristics. Both use a format where posts automatically disappear after one day, enabling users to post and share their experiences as short videos.

Although "Snapchat Stories" was released several years earlier, this survey revealed that "Instagram Stories" currently enjoys a slightly higher usage rate in Japan.

One reason for this is likely that Instagram is already widely adopted in Japan, with established connections between users, providing more "recipients" for sharing videos. SNS—or more broadly, communication-based internet services—exhibit network externalities (the phenomenon where the benefits derived from a service increase as the number of users grows).

Our survey also observed that users exhibit "shortness"—they either "prefer short videos" or "decide whether to keep watching a video within a short time" (For detailed data, please contact the inquiry point listed at the end of this column).

 

② "M (Em): Moru" xml-ph-0000@deepl.internal

② "M (Em): Moru"
"Moru" (to pile up) is an essential requirement for visual communication.

We believe that "M: Moru" is an indispensable perspective for understanding the information behavior of Japanese smartphone users, especially female users. This survey revealed that teenage girls use an average of three (!) photo editing apps per post.

Applying filters, adding text, decorating with emojis, stamps, or stickers... A single photo now undergoes diverse editing expressions, suggesting the continuation of Japan's "Moru" culture, which traces its roots back to purikura.

User interest is expanding beyond photo editing to include video editing as well.

Video filter apps, which began gaining popularity domestically last year, apply real-time effects to subjects like the user's face. Well-known examples include apps that transform a user's selfie into a dog's face.

While video filter users currently make up 37.8% of the total survey respondents, the "potential user base"—those who might use them in the future—totals 34.7%. This indicates an estimated growth potential of nearly doubling the current user base.

When considering video filters, what's important is not only the trend in user numbers but also their functional value. From our interviews, we also learned that the characteristic of "enabling users to get excited together/create excitement" – enriching that time – is highly valued. While photo editing focused on meticulously enhancing a single image to look stunning, a different orientation seems to be at play in the moment of video editing.

Amidst this flourishing editing culture, concerns are sometimes voiced, such as "If you edit too much, won't you lose sight of the original?" – essentially, questions about this trend. Many people, including the users themselves, have likely experienced this feeling. However, in my personal view, there is room to interpret this situation positively.

The "online self" crafted through the methods described above—even if its appearance differs from the "offline self"—coexists without contradiction for many modern users. In other words, the gap between "the me here and now" and "the me represented and circulated through visual communication" is accepted as an extension of identity. It might even be actively embraced and enjoyed.

If so, such multiplicity seems like an area we should affirm. This trend may not be unrelated to the Post-Truth information environment we find ourselves in.

Furthermore, while space constraints prevent detailed elaboration here, our research indicates that video filters will become increasingly important for promotional purposes going forward (if interested, please contact us via the inquiry details at the end of this column).

③ "L(El): Live"

The shift of live streaming to social media platforms is accelerating.

Live video streaming services have a long history, but the reason we revisit them now is the addition of a "social media shift." The rising usage rate of services enabling live streaming on social media platforms like Facebook and LINE warrants attention.

Looking at usage rates among "all survey respondents," the top-scoring services are, in order, "Niconico Live," "Facebook Live," and "LINE LIVE." However, when examining usage rates among "those aware of the service," Facebook Live leads with 42.9%, clearly demonstrating the strength of "services provided on social media."

Regarding live streaming on SNS, users shared comments such as: "I don't want to save it long-term, but I want to spread the memories," "I can connect with many people and express myself by editing and posting videos," and "I'm not good at calling friends myself, so I want to post live videos and have friends come to me" (!).

While various types of live streaming services exist, signs indicate growing attention will shift toward "types integrated with SNS" that enable streaming on social platforms, alongside "standalone types specialized for streaming functionality."

Summary: The "Now" of Communication Seen in ES-M-L

To briefly summarize the discussion on ES-M-L, the focus was on the following points:

The proliferation of "Ephemeral/Short" casual video communication

The deeply rooted user-side need for "Moru"

The shift of "Live broadcasting" to SNS-based platforms

The shift of "Live Broadcasting" to SNS platforms

Taking a step back, the growing immediacy of web-based communication highlights why SNS's ES-M-L framework is crucial. Both "ES" (immediacy), "M" (the aspect of excitement), and "L" share a common trait: they all relate to the temporal experience of users.

In today's world of information overload and content excess, there seems to be a paradoxical rise in demand for the "richness of time/opportunity" inherent in one-time experiences. I feel this contains a hint for considering what we seek from communication within our modern information environment.

Moving forward, ES-M-L functions/services will become more sophisticated across various SNS platforms, and users will adapt their communication accordingly. While observing these dual trends driven by the "visual communication shift in SNS," we must prepare for an era where "supporting consumers' self-expression and media-like activities will be leveraged even more extensively for corporate and brand promotion."

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[Survey Overview]

DENTSU SOKEN INC. Media Innovation Research Department

"Survey on Visual Communication Among Young People via SNS"
Research Firms: ①Graffiti / ②Video Research Ltd.
Survey Period: April–November 2016
Survey Methods: ① Group/Depth Interview Survey / ② Web Survey
Sample Composition: ① 15 males and females aged 17–21 residing in the Tokyo metropolitan area / ② 1,600 males and females aged 15–34 nationwide

※② screened based on usage criteria: "Individuals who post (send/share) on at least two of the following platforms—Instagram, Facebook, Twitter, Snapchat—once a week or more (including shares)"

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【Contact】
Dentsu Inc. DENTSU SOKEN INC. Media Innovation Research Department
Akira Amano
infomedia@dentsu.co.jp