Lucki
Campaign 01Clips delivered943
Over 780M+ views for music campaigns
The clipping agency behind
The clipping agency behind
780M+ music views
Real campaigns for global names and rising artists. Verified views, no bots, clips cut and distributed across TikTok, Reels, Shorts and X.
These are artist clipping campaigns. Start on the music clipping agency home or book on contact.
780M+Music views to date
310M+Across the 25 below
30,335Clips delivered
62,900+Creator network
Case studies
Global names and rising artists.
25 campaigns · 310M+ verified views · 30,335 clips
YNG Martyr
Campaign 02Clips delivered921
RUSS
Campaign 03Clips delivered1,678
2hollis
Campaign 04Clips delivered1,326
Quavo
Campaign 05Clips delivered3,841
Selena Gomez
Campaign 06Clips delivered441
Ski Mask the Slump God
Campaign 07Clips delivered1,439
Teyana Taylor
Campaign 08Clips delivered987
WOLFPak
Campaign 09Clips delivered1,235
Lady Gaga
Campaign 10Clips delivered1,053
Treaty Oak Revival
Campaign 11Clips delivered2,149
Maroon 5
Campaign 12Clips delivered1,201
Rio da yung OG
Campaign 13Clips delivered1,261
YUNGBLUD
Campaign 14Clips delivered568
Sam Fender
Campaign 15Clips delivered456
OneRepublic
Campaign 16Clips delivered110
Royel Otis
Campaign 17Clips delivered1,237
Gracie Abrams
Campaign 18Clips delivered456
Telephone
Campaign 19Clips delivered2,866
Role Model
Campaign 20Clips delivered1,252
Baby Jane
Campaign 21Clips delivered2,143
Zedd
Campaign 22Clips delivered766
Tucker Wetmore
Campaign 23Clips delivered644
Red Leather
Campaign 24Clips delivered1,013
Lewis Capaldi
Campaign 25Clips delivered349
Verified views across campaigns run by the Lumina Clippers network. The full board, including casino and podcast campaigns, sits on the Lumina case studies page.
How they ran
Every campaign on that board
Every campaign on that board
was run the same way.
01
Hooks first
The moments that hold attention are found before a single clip is cut.
02
Clips, not edits
Multiple cuts per record, built for short-form rather than trimmed from a video.
03
Creator distribution
Posted natively from creator accounts, not dumped from a brand page.
04
Verified, then reported
Views are checked against bot activity before they are counted or reported.
Read the board properly
What is actually being counted here
Twenty-five campaigns. The numbers on those cards are verified views, which is a narrower thing than views, and the difference is the whole reason this page exists.
A view counts once a platform reports it and once it survives a bot-activity check against the posting account. Accounts with no watch history, accounts that post nothing but campaign clips, accounts whose engagement curve does not match a real audience, and view spikes that arrive faster than a feed can physically deliver them are all stripped out before a number reaches a report. That is why 441 clips for Selena Gomez sits at 12M and 3,841 clips for Quavo sits at 13M. Volume is not the variable. Placement is.
You will notice the clip counts and the view counts do not move together anywhere on that board. Lucki reached 100M+ off 943 clips. Telephone needed 2,866 to reach 3M+. OneRepublic reached 5M off 110. Those three tell you more about the mechanic than any average would, so it is worth walking through why.
Hook density · Lucki, 943 clips, 100M+
When the record does the work
Some records carry three or four separate moments that a creator can build a video around. A producer tag, a beat switch, a line that reads as a caption. Lucki's catalogue is dense that way, so a single track yielded several distinct clip briefs rather than several variations of one, and every brief attracted a different corner of the network. Fewer clips, more angles, and each angle found its own audience instead of competing with the others for the same one.
Saturation · Quavo, 3,841 clips, 13M+
When volume has to substitute for a hook
The opposite case. A record with one obvious moment and heavy prior exposure gives creators very little room to differentiate, so the campaign runs wide instead of deep. Nearly four thousand clips went out. The per-clip return was low and that is expected, because you are buying coverage of a sound page rather than betting on individual videos. Both approaches are legitimate. They are priced differently, and we say which one a record needs before the campaign starts, not after.
Roster leverage · Selena Gomez, 441 clips, 12M
When the account tier decides it
Four hundred and forty-one clips. Twelve million verified views. That ratio is not a function of the edit, it is a function of which accounts were cleared to post. Campaigns for names at this level get routed to the top tier of the network, where accounts already carry follower bases in the hundreds of thousands and the algorithm gives a new post a real first impression. Access to that tier is the actual product. A folder of good clips posted from small accounts produces a fraction of it.
Genre routing · Treaty Oak Revival, 2,149 clips, 5.2M+
When the lane is narrow
Country needs different creators than trap. The clip has to lead with a lyric rather than a beat drop, the caption carries the emotional weight, and the accounts that perform sit in Nashville, Austin and East Texas rather than wherever a general network happens to be strongest. This campaign ran high volume because the eligible pool is smaller and each account can only carry so much before its own audience tunes out. Genre routing is why the same brief cannot be shipped to the whole network at once.
Catalogue · Maroon 5, 1,201 clips, 5.1M
When the record is not new
Nothing on that board requires a release date. A catalogue record clears once against the master and the sync, and every clip after that inherits the clearance, which means an eight-year-old song can be put in front of an audience that has never encountered it. The mechanic is identical to a new single. What changes is the brief, because the clip has to introduce the record rather than remind anyone of it.
Tempo · Zedd, 766 clips, 2.1M+
When the edit point is a timestamp
Dance records live or die on a loopable second. Our editors mark the exact bar where the drop resolves and cut so the clip ends there, which lets a viewer scroll back into the same moment without noticing the loop. Get that wrong by half a beat and completion rate collapses. This is the kind of detail that does not survive being outsourced to whoever is cheapest, and it is why the network briefs come with BPM and hook timestamps attached rather than a link to the file.
The part buyers ask about first
Are these your clients or the network's? Both, and the distinction matters. Music Clipping Agency is the music-facing arm of Lumina Clippers, and it runs on the same creator network, the same clearance process and the same verification pipeline. The campaigns above are the music side of that book. The wider board, which includes podcast and casino work, sits on the Lumina case studies page, and we keep it separate because a country artist should not have to scroll past a sportsbook to find a relevant campaign.
Why are there no chart positions or stream counts on this page? Because we cannot deliver them and anyone who says otherwise is selling you something they do not control. What we control is how many rights-cleared clips get cut, which accounts post them, whether the official sound is attached, and whether the resulting views survive verification. Streams and saves follow from a sound page getting used. They are an outcome, not a line item, and the page on streams and saves explains where the causation actually breaks.
What stops a takedown? Clearance, set up once. The master right covers the specific recording and the sync right covers the composition underneath it, and a campaign needs both before a single clip goes out. Once a release is cleared we host the approved audio and serve it to every creator from one place, so nobody is uploading their own rip. That removes the rights-holder claim, which is what causes the overwhelming majority of takedowns, and it is covered in detail under rights-cleared clipping.
How is this billed? On verified views, at a custom rate per thousand, scoped per campaign. You are not buying a clip count and you are not buying a retainer. If a view does not survive the bot check it does not appear on the invoice, which is the only billing model that puts our incentive and yours in the same place. The full sequence behind every campaign on this page is written out on how a clipping campaign works.
Your record next
Send us one record.Judge us on the videos.
Tell us what you are releasing and we will come back with the hooks worth cutting and what the rollout looks like.