After this update of Station B, movie commentators can no longer bear it

After experiencing the copyright storm and the "stop updating trend", the film commentators are facing the problem of creative income. The author of this article analyzes the current dilemma of the up masters in the film and television area.

After experiencing the copyright storm and the "suspension trend", the movie commentators are in trouble again.

On March 31, Xiao Pian Pian Shuo Da Pian, a UP host in the film and television section of Bilibili who has 6.88 million followers, posted a status.

In his post, he mentioned that another comics and film content UP master Wanzidaodaodao decided to suspend updates due to difficulties in account operation. Xiaopianpian felt a little sad and pessimistic about the future.

But soon, this post was deleted.

And the audience has no other choice. They can’t change the push mechanism, nor can they change the creation incentive plan. They can only hope that the UP host who has stopped updating can receive advertisements and revitalize the account.

Why did Xiao Pianpian make such an exclamation? In fact, it is also related to the creative incentive revision he mentioned.

In March, Bilibili released the "Annual Video Creation Incentive Plan (2024 Edition)", which made new adjustments to creation incentives.

The creative incentive that attracts the attention of netizens every time it moves, although this time it is much more low-key and did not cause much sensation, and the outline of the rules is only more than 300 words, but the content is still heavy.

Yes, the basic video incentive has a monthly income cap this time.

Perhaps because they were afraid that netizens who had questions about the rules of the incentive plan would rush to the forum, they insisted on asking themselves to translate what the incentive plan was. Station B also attached a Q&A to answer the questions.

In the Q&A, Station B explained some key points in the rules that everyone is curious about, such as how to know whether you are entitled to basic video incentives this month, and the standards for UP hosts who do not have monetization capabilities.

The 2024 incentive plan can be summarized more simply: no matter how many tens of millions of video views you have, based on traffic alone, you will be given a minimum of 2k per month. All this is based on a premise - you have not earned 5k per month from Bilibili in the past six months.

To put it bluntly, the concern is that "the problem is not the lack of benefits but the inequality of benefits". By limiting the amount of incentives, more attention and support will be given to grassroots creators.

Is this a good thing or a bad thing? I have no say on this. But for those who used to get a lot of incentives every month by posting high-traffic videos, it really hurts a lot, and the UP hosts in the film and television area are the biggest unlucky ones.

Why do I say that? Because compared to other sectors, making film and television content is really not profitable.

Let’s put it this way, even those small UP hosts who upload game live broadcast materials and make funny meme collections often take on some e-commerce advertisements and promote Maltesers shampoo in their dynamics whenever they have time.

There were even many people who took up advertising for the ✈️ cup, leading netizens to nickname this type of video the "Holy Grail War."

But if you open the homepage of any UP host in the film and television section, you will be particularly suspicious about how they survive, and whether they rely on photosynthesis.

Compared with videos in other partitions, the length of videos in the film and television area is obviously different.

You can spend ten or twenty minutes watching a drama in one go, or even watch a few hours of video.

In order to make good long videos, many UP hosts in the film and television area have studios. They are not one person, but a team.

Like the small movie "Da Pian Pian" mentioned at the beginning, he has partners and more than a dozen team members behind him. He is located in Beijing, and as soon as he opens his eyes, he has to think about how to feed everyone.

Are they refusing to accept their fate and insisting on going against the era of short videos?

How is that possible? It's just a two or three minute video, and it's really impossible to analyze the details of the video.

If I force myself to make a short video, I guess the only thing I can do is "This man is called Xiaoshuai".

However, despite such a high intensity of work, their actual benefits are somewhat disproportionate.

In their dynamics, the frequency of posting advertisements is relatively low, and it may take a long time to post a few e-commerce advertisements. Most of the time, they are video trailers, or inspiring words about a certain movie.

Their videos don’t have any advertising content like videos in other sections. Sometimes you finish watching a video for 20 minutes, exclaim at how great the video quality is, and then close it to watch other videos.

It’s not that they don’t want to answer, it’s that they really can’t answer.

Not to mention those small creators, even Muyu Shuixin, the top star in the film and television area, posted a status last year saying that he had not received any advertisements in the first four months of 2023, and that the creative incentives from Bilibili were not enough to pay the office rent. All videos must be generated with love.

The reason why they can't get the job is very simple. First of all, there is the copyright issue that makes every party sweat. Once the video involves copyright disputes, no matter how it is resolved in the end, it will be a mess.

Secondly, it’s really too twisted to force ads into the video.

These creators are not Peter Weir, who can give you a "Truman Show" that perfectly blends video and advertising.

The reality is often that the hero in the movie is on the verge of death one second, and the next second it says that the hero needs a bottle of big treasure to restore his skin condition. Anyone who sees this will be confused.

Of course, if people really don’t have enough food to eat, no one would be picky about food.

The main reason why UP hosts in the film and television area cannot receive advertising is not that they do not want to accept it, but that the client is unwilling to invest.

For the same amount of money, Party A can either seek endorsement from the top names in the industry, or find a bunch of UP hosts to increase sales.

As mentioned before, inserting advertisements into secondary creative videos of film and television has a mediocre viewing experience and the placement seems a bit stiff, so this avenue is basically blocked.

Some people may ask, since you are already a creator in the film and television field, isn’t it just right for you to take on some film and television advertisements? My friend, there are many wealthy people in the entertainment industry, but this meal is not so easy to eat.

They don't need to answer this question. The answer to why they rarely accept film and television advertisements is already very obvious.

People's evaluation of film and television works is often subjective, which means that it is easy to cause controversy.

More than a month ago, the entire Internet film and television area was divided into two camps because of "Hot and Spicy", namely supporters and opponents. Regardless of whether the movie is good or not, the supporters who recommend Hot and Spicy have already been exposed by netizens.

At that time, on the Internet, videos related to "Hot" could almost form a TV series with twists and turns, from "Why I don't like watching Hot" to "My video was asked to be removed" to the ironic title "I'm too young to understand movies."

Without mentioning "Hot and Spicy", and going back further, in January 2023, the UP host Sandai Lu Ren released a video about Man Jiang Hong. The video was not long, only 4 and a half minutes.

After watching it, you don’t even know whether he is praising or being sarcastic, or whether he accepted the advertisement.

In short, this ambiguous attitude nailed him to the pillar of shame in the film and television industry and he was attacked by netizens at the time.

So, this is why there are so many TV dramas with terrible reputations produced in China every year in an assembly-line manner, but why we rarely see UP hosts accepting advertisements for them?

For Party A, I placed an ad and ended up getting scolded, and maybe even causing a wave of negative public opinion. If I’m not careful, I’ll lose the money I spent on promotion and my reputation will be ruined.

For UP hosts in the film and television area, they dare not bite the bullet and advertise films and TV shows whose quality is uncertain. Even LOL black iron rank knows not to play against the wind, and bloggers who rely on traffic for their meals dare not be the most beautiful retrograde.

Otherwise, there is a high chance that you will be exposed by others or join a team building activity in the comment section.

This is the dilemma that the film and television industry faces when faced with film and television advertisements: if I don’t accept the advertisements, I can’t make a living; if I accept the advertisements, I can’t live my life.

After all, the audience can tolerate UP hosts making money from fans, but they really can hardly tolerate UP hosts making money from shows like Shanghai Fortress...

Under the above premise, creative incentives become very important.

Because apart from marketing accounts, the UP hosts in the film and television area are of high quality, and their traffic incentive income is also relatively high.

Even if there is no million-dollar hit, like the UP host in the film and television area with 700,000 fans who is very dedicated to chasing the queen, she posts five or six videos every month, and each video has 200,000 or 300,000 views, which can bring in more than 50 yuan a day. The income from traffic incentives can account for about 20% of her total income.

The money is not much, but it gives people a sense of direction and motivation.

I hope that one day my product will become a hit so that I can earn some extra income.

Now that the incentive for creation has been cut, they have to figure out how to make money.

In the future, should we pursue the number of video views, or do everything to please the audience, or just do what we like? Every UP host has a different answer.

Recently, many film and television UP hosts have begun to make targeted adjustments to their content. For example, top UP hosts such as Muyu Shuixin and Queen Instant Noodles have started to create exclusive content for charging.

Viewers need to pay extra monthly fees (equivalent to a monthly membership for the UP host) to watch these videos.

In short, the current film and television industry is stuck at this juncture, neither going up nor down.

The question is, how did the film and television area become what it is now?

In fact, it is not just the film and television area of ​​​​Bilibili. If you visit several video platforms, it is not difficult to find that the overall secondary creative content of film and television has decreased a lot.

Perhaps only the film and television bloggers of Douyin are more resilient. They can also make more money from the huge ByteDance by using means such as using the shared bikes and mini-programs.

In the past, a group of people flocked into the film and television industry. As long as they found an exciting scene from a movie as the cover and made a random video, many people would watch it.

Those who have some knowledge will talk about the brain-burning plot, the film industry, and the behind-the-scenes stories. Those who just want to join in the fun and make some money will roughly cut out the video clips and use AI to dub "This man is called Xiaoshuai". If that doesn't work, they can make some film and television complaints, which will also bring in a steady stream of traffic and rush to the hot list.

However, as domestic film and television platforms become larger and the industry becomes more formalized, the fate of film and television bloggers has become increasingly difficult.

They found that the golden age of horse racing had passed and it was becoming increasingly difficult to make a living.

In 2021, more than 70 film and television companies issued copyright statements, and voices began to emerge that the secondary creation of film and television works would be in decline, and creators were all in danger.

About two years later, there was a "stop-update trend" on Bilibili.

It was during this "suspension trend" that Muyu Shuixin mentioned the issue of not being able to receive advertising.

Although this wave of suspensions was later confirmed to be a false alarm, there are indeed many excellent film and television content creators who have disappeared in the past few years.

They often have hundreds of millions of fans, and the videos they make are of high quality, but they suddenly issue a notice to stop updating without any warning. This is an unimaginable scenario for creators in other sections.

The army of marketing accounts that used to bring rough cuts of film and television content to major video platforms has also decreased a lot. Only nicknames such as Xiaoshuai, Dazhuang, Fobole, and Jinfamei remain, becoming a part of the Internet's past.

Finally, the film and television content creators who still insist on updating are also silent in the predicament. It was the cry of Xiaopianpian at the beginning of the article that attracted people's attention again.

Of course, people may pay little attention to this information, but if you pay attention to the advertisements given in the recommended positions when watching videos on major platforms, you can find a very interesting phenomenon.

That is, the advertisements that used to appear frequently, such as "Recruiting newbies to learn film and television editing", are becoming less and less common. Instead, there are "Legendary Gold Earning Service" and "AI Smart Assistant".

Advertisers will understand earlier than ordinary people what is the trend of the times and what is a non-profitable pastime.

Quietly, film and television creators have entered a new winter.

Images and data sources : Public information of film and television bloggers such as BV1NJ4m1v7aU, Muyu Shuixin, Zhui Niangniang Te Bie Gan, Ade LBG, etc., B Station Video Creation Incentive Annual Plan (2024 Edition) and Q&A content

https://www.jiemian.com/article/5933590.html

Written by Zhang Dadong; Edited by Mangshan Iron Head

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