In the past year, in addition to live broadcasting and e-commerce, short videos are still a major focus in the industry. In 2020, when the industry is accelerating, traffic is beginning to tilt towards premium platforms and content.
Flash Girl Sis, an excellent content creator for medium-long videos, chose to enter the video number with high industry attention in 2020.
In the video number, Si Si expanded more new content, created a new hit, experienced the public account dividend, and determined that the video number will also bring unimaginable dividends to content creators in the future.
In May, the glitter girl Sisi accepted an exclusive interview with today's Internet celebrities at the Shanghai Summit.
Si Si said bluntly that in the short video competition, content is always the only lever, whether to let individuals red first, or IP first red, is the early stage of creation to think. In addition, SiSi also shared her views on a number of hot topics in the industry, such as WeChat video number, short video industry involution and content explosion.
The following is the transcript of the interview -
Q1: Share some of the changes in these years, the experience and process of being a flash girl.
Si Si: In 2014, I was working in logical thinking, and at that time, 15 years Caught up with the public account. In fact, I caught up with two sets of dividends, one is a 15-year public account, and the other is an 18-year video.
The main business now is to do medium-long videos, which may not be the same as our traditional definition of short videos. I shot about 40 video episodes of one video program, and the video program of one episode was between 15 minutes and an hour, which is considered to be a medium-long video.
I think that with our kind of founding IP as the mainstay, the first one is that I invented a word called, the snow country train of self-media, which is very personal.
(Si Si delivered a speech at today's Internet Celebrity Shanghai Summit)
At that time, I did this interview program in the hope of handing over the microphone to people with expressive desires, so that our entire company, or the entire IP life cycle, is longer.
I think all those who want to be self-media, want to be Internet celebrities, or want to do traffic business, they must think about how to build your content and build your team under a longer development dimension.
If you sum it up in one sentence, it is that in the content industry, content is always the only lever.
Q2: Being a flash girl is equivalent to pushing yourself in front of the camera, and being a boss and a celebrity, what is it like?
Si Si: Hard work is inevitable, because one wins and one loses.
But I think that in this era when attention is so scarce, the essence that people can believe is people, your cold start will be faster, I think it's just that everyone has chosen a different game mode, maybe I chose the harder mode in the content field -
It may get you very focused on cold startup, but in the later stages, you need to spend a lot of time thinking about how to scale, which is the same pain as all the founder-based IPs of my type.
Q3: A type of flash girl drawn from the content.
Siss: Our real genre should be called interview documentaries, because our usual shooting cycle is two days, one day interview, one day to shoot the events and progress of the characters.
Throughout the process of starting a business, I was very deeply aware of one thing, that is, categorization. Many people will say that we are "micro-comprehensive", they will say that we are interviews, they will say that we are documentaries, but we are thinking about it in a larger dimension.
When I was a kid watching TV, we would watch documentaries and watch TV series, and the forms of content that existed at that time still exist today. But for a moment, because this thing is developing so fast, we can't define what it really is. So now if someone asks me, I say it's a documentary, because when I talk about an interview, the guests say, "Ha, two days for an interview?" "Yes, this is a thing that we can't fight, but at the same time I think it's very good that under the medium and long content, the content can be very well developed.
The essence of what we do is "women + business" character stories, at this point, the first I think the risk of policy is relatively small; if you shoot particularly fiercely, particularly avant-garde, and even emotionally inciting, it is very difficult to operate and develop in the long run in this big era background.
Second, the core idea of the project we started at that time was to find professional idols for this generation of young women. Because people learn from people, not from a value or a methodology, our natural content is to solve the confusion of women in this era.
I give our own positioning is "women + business", so that our users, through our films, feel what kind of choices this generation of women are making, what kind of thinking they are doing, I think it is real in solving the needs and problems of users.
Q4: (This content track) Has there been many competitors?
Sisi: Very little.
I often say in interviews that if I went back three years ago, I knew that this film was so difficult to shoot, and this road was so difficult to walk, I would have given up at that time. There is a saying called "the ignorant are fearless", and I am exactly in this state.
Q5: What are the reasons for the content change?
Siss: From a business perspective, flash girl update cycles are now a form of monthly change. If the month is more, then what do I do for the remaining thirty days?
One is that my content team found in the process of building that the time period to solve this problem is one month, so the rest of the time we have to do some commercial monetization.
The second part, investors have asked me this question a long time ago, that is, "Do you want SiSi to be red first, or the IP of Flash Girl to be red first?" "In fact, you will find that it is very difficult to make a brand popular first, so it is a choice for us to let individuals first red."
Q6: What is the key to being a quality video creator? Have any experience.
Sisi: That's a big deal, but I can sum it up in one sentence.
Two days ago, when I was flipping through Lai Shengchuan's book, there was a sentence in it that particularly touched me, saying that he would still check his creative motives to this day, whether he was giving the audience a simple and simple gift, or a gorgeous and complicated garbage.
I'm still checking my motivations to this day, why? Because I think this generation of audiences, their aesthetic is the same as yours, what you like, what you need, what you feel really trying to convey is what they need. If you're making garbage, it may be inflammatory and eye-catching for a while, but it doesn't have a long-lasting, precipitable value.
I want to be a company that will probably survive twenty years from now.
If my dimension were like this, then I might give up some things now and probably dive into my own field, more focused and more vertical to the value I can contribute.
Q7: Why do you do live broadcasting? Will you consider bringing goods?
Si Si: We generally don't bring goods with us on live broadcasting, but generally bring lessons.
Thirty minutes of video, the last users left are those who believe in our taste and have a more mature mind. When they believe in your choices, whether you are pushing people to push things, these are the same, its essence is called believing in you.
And the live broadcast of this scene is very good, to raise our sense of trust, in the live broadcast of this scene, he will feel very real. Text can lie, videos can be re-edited, and live streaming is very real for users.
Now our live broadcasts are generally still discussing topics that users care about. Live streaming with goods will also be done, because the real cash flow or monetization income will be pushed in the opposite direction. It is useless to just say good, and the user who really spends money for you is called a user.
Q8: What was the original intention of choosing the video number at that time?
Si Si: I realized at the beginning that it was very much like when I first started doing public accounts in 15 years. Maybe everyone will say today that the video number is difficult to monetize, but at the beginning the public account is also difficult to monetize, I am the first wave of people who killed the public account to price the public account.
We did a bridge (when we did the video number) to see how the advertisers could deliver it correctly. If the video number really has traffic, that is the next big official move; if it is a life and death game, then you now all in a bit of traffic is no problem, monetization is a post-demand for our account.
So, if there's any core advice, or a view of the core of the video number, I think it's a matter of waiting and letting the bullets fly for a while.
Q9: From the perspective of creators and entrepreneurs, what do you think (video number)?
Siss: If from the perspective of the creator, I think there is a very big difference between long video and short video, the logic of the narrative is completely different, but there is a core, the tone of the storytelling is the same. Just how you tell a story in a minute, or in a longer time dimension, how you tell a story.
I think if you want to do a video number, the first is to be real enough, the second is enough interaction, because the data feedback data will in turn rush the traffic of your account, and the third I think is branding, personal branding.
Q10: Some time ago planned a 30-day change, what is the idea?
Si Si: I was joking that day, they all laughed at me, they all said you see who is doing the day in the market, dare to shoot the day cut on the same day.
Because we are not the kind of account that does oral broadcasting, but a vlog account, very close to the real person. For example, my current top video is why I do the video number, what kind of experience is it to interview the sports star, what kind of feeling it is to insist on 30 days, etc., this is probably these topics are real shooting, real shooting plus real script, plus real policy.
I think the video number is a good opportunity, but when I don't do it myself, the people in our company won't believe it, they won't pay attention to this matter, so my first thought at that time was, I want to do it myself; the second is that I don't just do it, I want to understand the way inside, I think this is the ethics of a founder.
Go deep into the front line to hear the sound of artillery fire, to feel the change of the entire platform of the video number, in order to push backwards, let you know what kind of layout to do in the middle. 30 days is a minimum, minimum time that I think allows you to understand the video, if you do a week, then I don't think it's useful, you don't feel any changes in the rules and users of the platform.
Q11: Do you feel the video inside?
Sis: I don't feel the inner volume, I think the quality content is far from enough. When you open the video number today, do you think there is enough content for you to brush up like TikTok all day, or two hours?
If not, then it hasn't started rolling yet. I think it's vibrato, we wouldn't say it's an inner volume. We will say that the amount of vibrato runs very well, and the ecology and content on vibrato are very rich.
We don't use the word inner volume very much, at least I think in the field of video, or whether it's long video or short video, volume is a good thing, because volume means fierce competition, it means that really good works can stay.
Q12: Are there fewer blockbusters now than before?
SiSi: No, when the user's attention is here, it just makes you think it is difficult to do the blockbuster, but the hit must be more.
Q13: What stage is the short video in now?
Siss: I don't even think it's really summer yet, the night before dawn.
Q14: What kind of attempts will there be in the future?
Siss: First, I'm probably going to be a little more radical in the medium-length video space, and trying to be personal.
Second, after the video number day was changed for 30 days, I found some of the content that should be talked about, as long as I was clear about who I was, the traffic would naturally come there. Now, I open the video number every day or new traffic comes in, there is no new update, there can be new traffic coming in, so in the personal IP play, we should be more aggressive, we will take a larger pace to get new traffic.
Q15: What kind of IP does Hope Flash Girl have?
Siss: I definitely want it to be a world-class IP.
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