Screen, long, deepStation bThe visual feeling that has been brought to users is also a unique difference symbol for station b. However, with the introduction of stone mode (the vertical screen model) at site b, this culture is being transformed。
The determination to develop a stand-up mode at station b can be seen from the earliest vertical screens to the later recommended slots and to create the same recommendation slots as the home page list. However, the long content layouts have been shaped by the custom of users that have been nurtured by the platform, with constant “short videoization”, which has impacted the user atmosphere and creative ecology. On social platforms, faithful users of many b stations complain about vertical mode channels, and there is even a way for users to automatically release video-transmit their contributions to closed screen mode。
Even so, with the encouragement and support of the platform, a growing number of up owners are still involved in the production of vertical video content in order to obtain new volume increases, and some small and medium-sized up owners and proxies who have been flat on station b have gained new development opportunities。
For example, in the case of games with serious homogenization, the modulation of the platform at the secondary level of station b has natural genes to spread the content of the game, which allows a large number of anchors to open live and create content on station b. With more and more anchors pouring into the platform, similar live styles and content have brought various players into development bottlenecks. But with the emergence of the vertical screen mode, many anchors have begun to shift their thinking and create shorter content through the ad hoc effects of sucking, in an attempt to capture the immediate attention of users and bring new fanning to themselves。
On the one hand is the user preference and platform style that the platform has been fostering for so long, and on the other hand is the creation of additional volume and commercial value of the vertical content, the “symmetrical” of the long video, to which point should station b lean
The game rings the vertical content "first shot"
The field of games, whether in content or product, has always been the focus of station b's layout, which was the “first shot” of station b as far back as it was in the field of live broadcasting. Uniquely, with the start-up and development of the vertical-screen model, the game proteges also received the first wave of “rewards”。
The game is a large content type, but also a type that is difficult to distinguish, and the vertical screen mode provides a new entry point for the host and creates opportunities for the anchor to cross the curve. For example, a well-known game anchor at station b @sunshineboy clown bear, who will make high-energy and fun instant slices of the live broadcast, accompanied by humorous narratives, attracts the eyes of game users with wonderful footage, with a maximum of over 2 million videos. The content not only attracts the attention of a large number of new fans, but also introduces public traffic to live booths, raising the commercial revenue generated by reward and placement。
Unlike sunshine boy clown bear, heroes league official statement@ it explains that mage's vertical screen is more personal, drawing attention to users through its own visibility and colour. The daily content of the live screens, the adaptations, and the long video of the screens complement each other, improving their own form of content and reaching out to interested users outside the game。
The advantage of vertical content lies in its ability to capture user interest in a short period of time, and it is easier for entertainment-type content such as games, dances and so forth to be presented in the form of vertical screens. This type of content satisfies the recreational approach of fast-brushing, making it easier for users to engage in a browsing process that leads to praises, comments and retransmissions, which coincides with the relative ecological weakness of the current station b。
In addition, for owners of the deep-farm b platform, primary hosts and ups understand the preferences of the platform users and can easily find the most attractive entry points for users. Most of the hosts and small and medium-sized ups are less able to create professional videos, while the relatively difficult creation of vertical videos and the fact that they rely mainly on large data to obtain a broadcast volume have made it easier for them to produce content and increase their own dissemination efficiency, thus moving away from traditional powdering methods that rely on the recommendations of the home-site editors and on toplines。
However, for a long-term, deep-tilled head up, short-lived vertical content does not fit professional content style and lacks its own experience in producing short video content, so the long video logic is used as a screenContent creationIt could lead to the loss of its own fans。
As a result, the vertical mode of station b is more like a new traffic portal for anchors and up owners in the back, while more specialized up owners need to consider the impact of changes in content forms on themselves。
Losses are down, but the pressure on the money scene is still there
If it is difficult for up masters to choose whether or not to create the content of the vertical video, then for station b, the development of the vertical mode is the “self-help” that has to be done。
On 10 january, b. Stated in the hkt announcement that its net turnover in the first nine months of 2022 was approximately $15,757 million, with a gross profit of approximately $2. 6 billion and a net loss of $6,011 billion. According to the financial statements for the first three quarters of 2022, the losses in the first quarter of b station amounted to 2,284 million yuan, in the second quarter to 2,011 million yuan and in the third quarter to 1,716 million yuan, although the value is decreasing, it is still experiencing a continuing loss。
In the past, station b has not been cashed through the insertion of sticker advertisements in the video, mainly through location advertisements, such as information flows, referral areas, etc., and kol video advertisements, such as those linked to advertisers and creators through a sparkling platform, with the percentage of housemaids in station b being about 5-6 per cent, which is at a lower level in the industry. Issues such as saturation of position advertising and poor conversion of information stream advertising have limited the scope for increasing revenue from advertising in station b。
In the face of unreversible losses, station b had to exploreCommercializationThe path of a new way out, and the vertical mode became the platform's “headlines”。
Chen shui has repeatedly expressed the commercial advantage of the vertical mode at financial conference calls. Because of the fragmentation of user time, today's advertising is moving towards a vertical model, while the commercialization of platforms such as shivering, fast hands and so forth has allowed the advantages of advertising the content of the vertical screen to be validated and a relatively well-developed commercial model to run. The content of the vertical screens can bring more content into the penetration scene for station b and up, thus generating more advertising。
At the same time, the form of vertical content has attracted more cross-platform content creators. These content creators from the short video platform, who have a better understanding of short video content creatively, can easily quickly attract user attention and commercialize on site b. For example, the famous up-master farmer bird, who started with a tremor and then became involved in the creation of the content of the b-station vertical screen, gained millions in about 10 days and quickly realized the translation of the content。
By joining different content creators, the vertical screen model can create new player increments for station b, attract more young short video users to the platform and make the content viewed more inclusive. The shorter duration of the video means that users can view more up owner content and receive more information at the same time, which means that more advertising can be carried in the information stream。
Currently, station b has designed an independent stream of information for vertical short video content, allowing users to view different vertical content in a downward mode, and the platform will channel content of interest to users based on large data, including advertising and live broadcasting. As coo lee lee, who is responsible for advertising at station b, has said: “the ecpm of stoy-mode (the vertical-screen mode) (the amount of advertising revenue available per 1,000 displays) is significantly higher than all original video scenes and is converted efficiently.”
Overall, the underlying reason for station b's exploration of vertical video content is the urgent need to explore new commercial spaces in response to the collapse of the platform camp, while the short short video commercial advantage has been validated. On the basis of this starting point and the reduced values of losses, the vertical screen model did achieve good results, yet station b had to deal with the impact and impact of the vertical content on the ecosystem of the platform。
Content form, liquidity model and community ecology game
Now, station b has a long, short video content model and has achieved milestones in commercialization. However, short video is not attractive to traditional users of station b, and may even affect their daily usage, as well as the penetration of short video platforms, the commercialization path of the vertical screen model is uneven and the contradiction between content ecology and commercialization persists。
With the rapid development of major video platforms, users have developed an exclusive perception of each platform, with the possibility of shaking, fast hands to view the time spent on debris, and the choice of station b to understand more deeply, which makes it difficult for station b to divide traffic quickly from short video platforms. At the same time, many of the faithful users of station b, who value the platform's professionalism and community atmosphere, are now becoming less diverse and the “clean soil” of their content is being eroded。
In terms of content, the content of the stand-up at station b now consists of a large number of long-time, trans-screened content, which is often placed by up masters into the frame of the stand-up and is not a short video in the strict sense. Short video does not require in-depth analysis and hard-core logic. What is more necessary is a special effect and an unexpected twist in the eyeballs, but such content in short-sight jackets is not only difficult to capture the attention of users, but can affect their perception of the content of the b-station vertical screen and the overall platform ecology。
This is due to the fact that the head up owner, in the traditional sense of station b, does not intentionally output the content of the vertical screen and is not very good at producing short video content. At the same time, cross-platform creators tend to distribute the same content to multiple platforms, resulting in a significant homogenization of station b's vertical content with other platforms. In such cases, the user's adhesiveness to the content of the b station is affected to some extent。
In addition, for the long-term effectiveness of commercialization, specialized short video platforms such as tremors and fast hands will inevitably affect the future commercialization of station b. The users of the tremors and fast hands have developed a purchasing mind, the platform has a relatively well-developed electronics business system, and short video advertisements can be implanted, and live tapes can be mounted on small yellow cars for direct commercial conversion. In the case of advertisers, such placements are more direct and easier to convert, and in this regard station b has some meaning of being “short and short-handed”。
Now that the game of ecological and commercialization of b-station communities is on the table, how to avoid or reduce the impact on existing content-based ecology and the loss of users while developing it is a fundamental challenge for b-station-block model, not only because of its attributes, but also because it affects the living space of future platforms。
How to find a balance between content realization and content ecology is a question for b to think about, and if b chooses to give up its style and tone for commercial realization, is b still the same station
