Do long, medium and short super video warships really exist?
Edit guide language: short video develops rapidly but the competition is fierce, long video resources gather in Youiteng, medium video this piece of blue sea still needs to be excavated.After the so-called “medium video” concept was added, a “comprehensive video platform” with three types of long, medium and short delusion appeared all at once.This article launches a series of analyses. Take a look.For Domestic Internet companies, growing into an all-inclusive super platform is always the ultimate goal on each track. Social chat software should also be able to pay and borrow money, while real payment platforms hope that people can also talk about work and life on the platform.Even if the business form is completely irrelevant, there are always brave people who want to break the boundaries and force a platform transformation.This pursuit of large and comprehensive business strategy has also been inherited in the field of video. Long Video has been trying to become a short video platform itself for a long time.As short videos become more powerful, both Douyin and Kuaishou have also turned to longer videos, each hoping to capture the other’s hinterland.At the same time, PUGC video platforms such as B station and watermelon Video also have their own attempts, and as far as possible to expand coverage has become the core proposition.After the so-called “medium video” concept was added, a “comprehensive video platform” with three types of long, medium and short delusion appeared all at once.After 2021, however, it’s hard to find a positive case for aggregating long, short, and short videos, apart from the respective struggles of the PUGC platform.After the reorganization and integration of Tencent Video and Weishi, Tencent’s short video business is remembered by the public that it still relies on wechat video to live broadcast westlife’s concert, while Doukuaib’s OGV content is getting longer and longer, but it is rarely seen outside the circle.YouTube has failed miserably in trying to force its genre with a huge audience, and so far neither Tencent nor ByteDance has been able to establish themselves as the most special presence.No matter Netflix, YouTube and Disney, these three American entertainment companies have become the vexing knot of the domestic entertainment industry.Companies and platforms aspire to be Their Chinese equivalents, and the more ambitious want to build some sort of combination.In fact, the concept of “Netflix+YouTube” is not new. In the annual meeting of Youku Tudou in 2016, Victor Koo, chairman and CEO of Youku at that time, declared loudly that he wanted to “surpass New York”.The term “New York” refers to Netflix + YouTube.Now those platforms want to do even more, Netflix+YouTube plus TikTok.Of course, some people in charge of long video streaming have a clear attitude towards short videos: “The personalized recommendation of short video platforms is too powerful now. If you like ‘pig food’, you will get ‘pig food’.”The June 2021 comment set off a vicious war, and the creators of “Golden Sentence” even forgot that Tencent Video, which they run, had just merged with its sister unit Weisho, which also recommends short videos by algorithms.The statement that even our own people scolded did to a certain extent express the accumulated anger of the long video platform, but failed to slow down the pace of the short video conquest.According to a QuestMobile report in the second half of last year, as of September 2021, the short video industry had 926 million monthly active users, up 7.7% year on year. The active penetration rate of the industry has steadily increased to 79.3%, with all three indexes higher than the long video industry.The number of monthly active users of Tiktok, the leader of short videos, surpassed that of IQiyi, the leader of long videos, by 140 million, with a year-on-year growth rate of 27.6%. Tencent Video, the second, has no advantage even compared with Kuaishou.To make matters more awkward, Tencent is the industry’s most obsessed with making a dent in the short video business.Its investment is also difficult to find similar in the industry, has launched a dozen apps such as micro vision, flash coffee, QIM, DOV, MOKA MOKA, cat cake, MO sound, Tencent cloud video, meal video, quick watch video, time video, YOO video, sound rabbit.But even the Yoo video and the twice-appointed microvision didn’t work out very well.At the end of 2020, Tencent Video proposed the so-called “tropical rainforest” ecosystem, trying to create a comprehensive content ecosystem that can take its own place in addition to long videos through short videos and PUGC content, and all kinds of content can learn from each other’s strengths.But the past year has seen no such ideal.In April 2021, Tencent announced the integration of Tencent Video, Weishi and App Bao to establish online video BU. Four months later, Tencent integrated Tencent Video and Weishi into the online video product department, forming an organizational model of “two front-end products + one set of middle and background”.Tencent’s intention is very clear — try to use the content of a Tencent video to save the micro once.But apparently Tencent video in their own battlefield has been caught in a dilemma, there is no micro vision to bring foreign aid ability.According to QuestMobile, as of September 2021, Wevision’s monthly active users were less than a fraction of Douyin’s and nearly 100 million less than Douyin’s And Kuaishou’s. Not only that, its monthly active user growth declined by 53.8% year on year.On the other hand, wechat’s video number is slowly and steadily, making full use of its own user numbers, links in the circle of friends and Tencent music and other Tencent advantages, constantly narrowing the gap between themselves and Kuaidou.In fact, although iQiyi attracted all the fire at the end of last year, Tencent Video could not avoid any of the problems it had to face. The increasingly short videos not only ate up users’ attention, but also faced the pain of shrinking advertising revenue after the user growth came and went.According to QuestMobile, short video accounted for nearly half of the media industry’s AD revenue in the first half of 2021, topping the industry with 42.6% of revenue, while long video accounted for only 13.3% in third place.In response, Tencent reported a 4% decline in media advertising revenue in Q3 2021. Although Tencent explained that this was due to the decrease in advertising revenue of Tencent News app, comparatively speaking, the whole Q3 was actually a fairly good quarter for Tencent Video.”Black Storm” and “You are My Honor” alone have brought Tencent Video 4 million new members, obviously the problem of declining advertising revenue is not only the exclusive problem of iQiyi.Of course, Tencent Video is not alone in failing to make short videos. Iqiyi and Youku have failed in their previous attempts.In essence, the so-called “with short belt long, short and long integration of the way to meet the user’s differentiated content needs” is actually just the wishful thinking of the platform side, and the display of the scene is often specialized in the technical industry, more important is the scene problem and user mentality.Viewers often know exactly what they want to watch, or at least what they want to watch, when they turn on a long video stream — movies, shows, variety shows, etc., and the viewing scenes are for those with their own patience.However, at present, the short video recommended by algorithm is obviously not such logic. Only when users do not know what they want, algorithm can occupy a dominant position and continuously provide fast disappearing content that exploits human weaknesses.The film and television secondary creation may be able to bring work itself subject to a certain extent and heat, but both on the content of information is actually natural antagonism, most like to see two the user itself is stop by the film and television content long, how to do so in this case both sides of the integration to promote each other.The same problem still exists when short video platforms try to create their own OGV content. In the final analysis, different platform attributes make users have completely different expectations for content. In this case, any attempt to expand the boundary solely by the number of platform users will be difficult to achieve results.PUGC is not a cureall cure. Whether it is user competition or public opinion dogfight, it is almost a long period of time between Aiyouteng Mang and Doukuai, while B station and watermelon video featuring PUGC content can often watch from a distance.In fact, it is no secret that long video covet PUGC content. Tencent Video wants to include all kinds of long, medium and short types, and those videos are nothing more than all kinds of PUGC content. In particular, it wants to personally cover user creation, which is an important supplement of current film and television content, based on its various original film and television works.But Tencent Video is actually following their lead in business, because iQiyi is actually more extreme than them. In 2020, it even launched an independent app — Instant, trying to do interest community and official second creation from scratch.However, long Video in today’s market, trying to remake a youtube-like PUGC product from scratch is almost a lost cause.Timing is one of the problems, another problem is that the current domestic actually video content creators that not enough on the market can continue to supply multiple platforms, B standing alone with watermelon video has for two partial well-known creators fights, and others with no user accumulation and stability under the condition of commercial returns, actually it’s hard to attract the creator.The final result of the dispute between UP and B has also been seen in the market. In a wave of layoffs at iQiyi at the end of last year, according to sina Finance, “only 40 percent of the employees could stay after the company merged with other products.”Similar situation is almost the same for Tencent Video. No matter how hard it tries to promote pan-knowledge or Chinese video, there is not enough base of creators willing to invest in this platform. Even with a large number of IP in hand, all kinds of second creation content led by the official is still not attractive enough.In essence, these creative content needs to play jokes, mock, or even offend the original work in order to strike a chord with the viewer, and further achieve interaction through bullet screen and other forms.Obviously, in the face of the drama or film that they have paid a lot of cost, these long video platforms can not be ruthless in any case, after all, every work in their eyes should be popular “fine works”.That’s why today’s long video platforms are almost impossible to do, whether it’s short video or PUGC content.In addition to the platitudes of production costs, it has been unable to restrain itself like overseas streaming media. It often blindly expands business boundaries, which has made a negative contribution to the high cost.The few PUGC platforms in China have more or less taken the wrong path and even tried to go black.Watermelon Video has long been on the idea of film and television long video. In 2018, it was less than four years since the slogan that it would spend 4 billion yuan to produce a variety show.Bytedance’s decision to spend 600 million yuan in 2020 to exclusively offer popular Chinese New Year movies to its platforms is also seen as a sign of its full expansion into long-form video.But in the past year or two, Watermelon Video has probably acquired the most Netflix content rights of any domestic video platform, and hardly any content has gained much attention.Throughout 2021, Byte has basically given up making watermelon video as the production and distribution of OGV content, and shifted its focus to micro variety and micro drama. Douyin has become the only battlefield.On the other hand, it is hard to attribute the growth in paid membership and advertising to variety or drama, even though it continues to grow.According to station B at the end of last year, their investment in OGV content will increase and the categories will be more diversified.The situation is reminiscent of PUGC giant YouTube, which has long been seen as the model for b-site development. YouTube once hoped to attract paying users by creating a lot of original OGV content, and then tried to make the content free to earn a portion of the advertising fee.But on January 18, Robert Kyncl, YouTube’s chief business officer, made a surprise announcement indirectly announcing that YouTube Originals, the company’s original video content division, would be disowned.Susanne Daniels, the division’s global head, will also leave in March.YouTube’s attempts at OGV content have not been without effort, and while they don’t reveal the cost, it’s clear that landing a big name like Will Smith is not cheap. Six years later, they’ve barely produced anything, even though tens of millions of paying subscribers sound like a lot.But that’s nothing for a platform with more than 2 billion monthly active users.With YouTube now turning its attention to TikTok’s short video project, it makes sense to drop OGV.For STATION B, its attempt to make a breakthrough in OGV is actually closely related to the strategy of breaking circles in the past two years.However, in addition to the old problem of how to find a new balance between the content itself and the community, STATION B, which started late in the OGV content field, still needs to continue to expand capacity — the continuous output of popular money needs the support of internal talent system, and it also needs a long process from capital investment to the establishment of industrial chain capacity.On the whole, although the boundaries of video content itself are not rigid, there are clear differences in tonality and business models.At this stage, it seems like everyone is competing with each other for limited entertainment time with video, but the competition itself is very differentiated, and that differentiation depends precisely on the content features of different platforms. Netflix and Disney+ never saw TikTok as a rival,Because the content experience they provide is unique enough.With more users and regulators increasingly wary of platform monopolies, video platforms are better off going back to their roots and making money than dreaming up “super video battlers” that can catch all users.Author: Great entertainer;This article is originally published by @Yiyuwatch. Renren is a product manager. It is prohibited to reprint without the permission of the author.The picture is from Unsplash, based on CC0 protocol