#indievideo — Public Fediverse posts

What a ride! Dive into workadventure's 2023 Retrospective — a nostalgic, punchy look at the year's highlights, projects, and surprises. Perfect for lovers of creative online spaces. Relive the moments that shaped the year! #Retrospective #2023 #YearInReview #WorkAdventure #PeerTube #OpenVideo #IndieVideo #English
https://video.fnordkollektiv.de/videos/watch/edcd22c5-e85d-4479-be42-3e775e72daca

Check out "Yelling Creature (The original)" — a spine-chilling, viral creature clip that's already hooked over 5 million viewers! Perfect for a late-night scare; the creator promises new nightmares soon. Dare to watch? #Horror #Creature #Scary #Nightmare #ViralVideo #PeerTube #IndieVideo #ShortFilm #English
https://thecool.tube/videos/watch/2d3c623b-22bd-4cd5-9b37-2eb80f07828d

Chill alert! Welcome to My Living Room — a delightfully low-effort, well-lit hang with shirtlessjay. No plot, just vibes: grab a quick cozy break and enjoy the honest, relaxed energy. Short, simple, oddly satisfying. #PeerTube #IndieVideo #ChillVibes #LivingRoom #WellLit #CasualContent #English
https://play.shirtless.gay/videos/watch/5b78c680-48cf-48d3-b671-559b658f09cc

Curious title, cool angles: "top-rear-left" invites you to view from an unexpected perspective. Dive into this short piece from Main alex channel — visually intriguing and perfect for fans of experimental framing. Give it a watch and tell us what you notice! #PeerTube #OpenMedia #IndieVideo #Cinematography #CameraAngles #Experimental #English
https://dreiecksnebel.alex-detsch.de/videos/watch/d7ab1d48-85b4-4efe-8d4c-61a5423969ad

New upload: 'Test Project' from monster_trucks — a quick, fun peek into a demo video! Perfect for lovers of DIY edits and raw footage. Give it a watch and tell us what you think! #PeerTube #MonsterTrucks #TestProject #IndieVideo #OpenVideo #DIY #English
https://video.discountbucketwarehouse.com/videos/watch/f7574979-e321-4748-9c34-2455f1f85234

Found a cryptic PeerTube upload titled only with numbers — pure intrigue! Dive into this mysterious clip, watch, guess what it means, and share your theories. Perfect for sleuths and curious minds. Ready to decode? #PeerTube #Mystery #Decoder #HiddenGem #IndieVideo #UnknownLanguage #Numbers #Curiosity
https://videos.shendrick.net/videos/watch/0cd5a8ee-b687-408b-9c64-c5b3659a5b09

Part II of the July 15, 2023 diary is live! Adventure Diaries brings candid moments, quiet reflections, and little adventures—perfect for a cozy listen. Grab a cup, press play, and wander along. #Diary #Vlog #Adventure #Storytime #PeerTube #IndieVideo #English #AdventureDiaries
https://video.veen.world/videos/watch/914d4553-cb8e-416a-b88f-d617f1797701

INSIDE THE SMALLEST TV STUDIO IN THE WORLD
May 18, 2025

My YouTube studio is just 21.5 m². No depth of field. No room to move. But enough to frame a shot and stay credible. We spent a full year designing this setup — not for style, but for survival. Because when you're on welfare, you can’t afford a real set. You have to build one. It’s probably the smallest WebTV studio ever. And I pay for it alone.
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WHEN YOUR YOUTUBE SET HAS LESS SPACE THAN A STUDENT ROOM — BUT COSTS MORE

If I rent a space, it’s not for comfort. It’s because, in 2025, you can’t run a video channel from a bed. You need a fixed lighting setup. A non-changing background. A framing area that doesn’t shift every time someone opens a door. But when you’re on welfare, every square meter is a luxury.
¯

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21.5 M² — AND THAT’S ALL

My studio — which also doubles as my office, sound booth, set, and storage — is just 21.5 square meters. There’s barely enough room to walk around a desk. No real space to pull back the camera. No proper depth of field. And yet, this space is the bare minimum to install a tripod, a softbox, a table, and sit in frame. Based on my research, this might be the smallest WebTV studio in the world. And it wasn’t improvised.
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ONE YEAR OF SKETCHING, JUST TO SAVE MONEY

This setup took over a year of planning. I made floor plans. I calculated camera angles. I tested lighting placement with tape on the floor. I optimized furniture depth, desk alignment, and sound bounce — all just to squeeze a functional broadcast space into 21.5 m², without losing credibility on screen. We weren’t designing for comfort. We were designing for output — on €0 of income.
¯

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RENT IN MARSEILLE

Even a small space like this costs real money in a city like Marseille. Not because you live in it — but because you shoot in it. There’s no sofa. No TV. No storage. Just walls, gear, and a hope that the framing looks professional enough to convince someone you’re worth watching. We’re not selling views. We’re selling credibility.
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FINAL WORDS

In 2025, even after cutting every non-essential tool, my business expenses still exceed €2,600 per year. In 2024, before trimming everything, I was spending over €4,300 a year — for €0 revenue. All while living on €500/month in welfare. That’s €6,000/year just to survive — and €4,000+ out of pocket just to try and exist online. This isn’t a hobby. It’s not a whim. It’s not even a gamble. It’s simply the cost of existing as an independent creator — in a world where every tool is privatized, every pixel monetized, and every outsider is treated as a glitch to be corrected.
¯

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||#HSLdiary #HSLmichael

#SmallStudio #DIYSetup #LowBudget #VideoProduction #IndieVideo

€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
¯

_
THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
¯

_
A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
¯

_
THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
¯

_
TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
¯

_
THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
¯

_
A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
¯

_
THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
¯

_
THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
¯

_
||#HSLdiary #HSLmichael

#CreatorEconomy #InvisibleLabor #YouTubeExploitation #IndieVideo #PlatformJustice #WebTV #DIYStudio #DigitalSabotage

€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
¯

_
THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
¯

_
A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
¯

_
THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
¯

_
TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
¯

_
THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
¯

_
A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
¯

_
THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
¯

_
THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
¯

_
||#HSLdiary #HSLmichael

#CreatorEconomy #InvisibleLabor #YouTubeExploitation #IndieVideo #PlatformJustice #WebTV #DIYStudio #DigitalSabotage

€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
¯

_
THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
¯

_
A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
¯

_
THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
¯

_
TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
¯

_
THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
¯

_
A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
¯

_
THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
¯

_
THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
¯

_
||#HSLdiary #HSLmichael

#CreatorEconomy #InvisibleLabor #YouTubeExploitation #IndieVideo #PlatformJustice #WebTV #DIYStudio #DigitalSabotage

€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
¯

_
THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
¯

_
A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
¯

_
THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
¯

_
TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
¯

_
THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
¯

_
A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
¯

_
THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
¯

_
THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
¯

_
||#HSLdiary #HSLmichael

#CreatorEconomy #InvisibleLabor #YouTubeExploitation #IndieVideo #PlatformJustice #WebTV #DIYStudio #DigitalSabotage

€50,000 FOR AN INVISIBLE SET

In the Friday Formula 01x02 episode, you can finally glimpse what I’ve been building for years. That set is my greatest pride. A meticulous, ambitious production, designed down to the last detail. A childhood dream made real. Works of art. A central screen where the host uses visuals to support their points. An aquarium. Porcelain dogs. Mugs. A Michael Jackson clock carved from a vinyl record. Friday Formula 01x02 was supposed to be a hundred times better—with a finished set, more competent and motivated hosts, and better production. With more resources. But to pull that off, under the conditions I faced, is already a victory. A testament to determination. To willpower. With no money. No funding. No audience.
¯

_
THE SET IS TANGIBLE

What few people realize is that building a TV set isn’t like decorating a bedroom. It’s about:

- Ordering hand-engraved vinyls from Ukraine

- Importing Bazalto chairs from Poland

- A 3D Ayrton Senna frame signed by Retro Game Craft

- A custom neon light made in Singapore

Every item costs:

- In product price

- In shipping

- In taxes

- In customs

- In stress (lost parcels, defective goods)

And there were mishaps: furniture delivered broken, a brand-new fridge that didn’t work (last one in stock), having to call in a repairman. Thankfully, the store refunded me with the invoice. But the mental toll is real. The logistics are crushing.
¯

_
A HALF-COMPLETED INVESTMENT

Over three years, I spent €50,000. For a project that’s only 50% finished. Progressing slowly. Through patience, effort, rational micro-decisions, and a few gambles. And yet, that set has never been seen. Or almost never. Because YouTube buried my videos—like it buries thousands of others.
¯

_
THE DREAM OF AN AUTONOMOUS WEBTV

This project goes beyond YouTube. It always aimed at an independent website, a self-hosted media hub, a 24/7 WebTV. But to make that viable, we needed an audience. The idea was simple: finish the set, then start broadcasting publicly. In the meantime, YouTube would be our window. Our springboard. But YouTube said no. Not with an official rejection—but through systematic invisibility. Like a Tinder match that gets swiped left into oblivion.
¯

_
TOTAL DETACHMENT

YouTube’s detachment is both structural and emotional. If the platform had even the slightest symbolic involvement in video production, it would have a reason to showcase them. But YouTube contributes nothing. It respects nothing. And it can destroy an entire project—effortlessly. Without remorse. Without loss.
¯

_
THE CINEMA PARABLE

Imagine walking into a movie theater, seeing the producer’s logo… and walking out. Then posting a review about the logo. And having that review promoted.

That’s YouTube.

People click the three dots—“Not interested in this video”—after only seeing the thumbnail. Not the video. Not even a single second of it. And YouTube pulls your work off the shelves. And it’s not just what you see: this type of negative feedback has a massive impact on the entire channel, cutting its visibility across the platform.
¯

_
A COLLECTIVE INJUSTICE

This article is long. Maybe too long. But I need to go into detail so that people understand the real value of our work. This isn’t about asking for €0.03 per view. This is about repairing a sabotage. For Kévin, Dinoh, José. For the €50,000 spent on an unfinished set. For the €10,000 in TV gear hijacked for YouTube’s benefit. For the ads played on our videos, from which YouTube earns a profit, without retributing the producer — despite the legal obligation tied to authorship.
¯

_
THE TRUE COST OF AN INDEPENDENT MEDIA PROJECT

Let’s assume a minimum wage in France of €1,250/month for 18 months:
1,250 × 18 = €22,500. And even that doesn’t cover:

- The other collaborators

- Operating costs

- Business expenses

- The value of my skills

I’m the producer, director, host, author, network tech—and more. And I get paid zero.
¯

_
THE FINAL HUMILIATION

One day, I fixed a woman’s computer.
– The hard drive cost me €75
– My labor was worth €75
– A data recovery lab would’ve charged €3,000 to retrieve the files.

She handed me a €20 bill. Not even enough to cover costs. YouTube is that woman. It decides what your work is worth: a few coins, a handful of cents.
¯

_
||#HSLdiary #HSLmichael

#CreatorEconomy #InvisibleLabor #YouTubeExploitation #IndieVideo #PlatformJustice #WebTV #DIYStudio #DigitalSabotage