超越YouTube的生活——向创作者拥有的平台的转变及其对创作者经济的意义
The creator economy is at a crossroads. While traditional platforms like Instagram, TikTok, 抽搐, YouTube 仍然为有抱负的创作者提供了最好的机会，让他们建立自己的品牌，并在潜在的粉丝面前亮相, 越来越多的知名创作者发现，单靠社交媒体来维持自己的事业越来越困难. 结果是, 许多受欢迎的创作者开始投资自己的直接面向消费者(D2C或DTC)订阅流媒体平台，原因是他们对YouTube的算法感到失望，而且很难维持他们在单一平台上取得的成功. However, feedback from fans on these endeavors hasbeen mixed. Accustomed to accessing their favorite creator’s content for free on social media, some fans have a difficult time seeing the value of these recently released platforms.
Despite these initial growing pains, a new content distribution strategy is beginning to take shape and a more sophisticated, windowed approach could be the future of the creator economy. 这种混合订阅/免费粉丝模式意味着最初的内容是通过创作者的订阅服务独家发布的, potentially alongside bonus content live behind-the-scenes footage, 旧的存档视频, 以及直播活动, to superfans who pay for the privilege of being the first users to see new videos. Content can then be released later to social media platforms, 像YouTube, 利用他们现有的社交受众和发现算法，从更多休闲粉丝那里获得广告收入.
虽然现在说这种新生模式是否会以目前的形式继续存在还为时过早, 很明显，创作者拥有的D2C平台将继续在互联网顶级创作者的分销策略中发挥重要作用，因为越来越多的创作者希望将收入来源多样化，而不是YouTube和其他平台.
The Cost of Social Media
For good reasons, YouTube remains the go-to platform for content creators. 在互联网上，创作者可以从零开始并通过自己的创造力快速建立业务的地方已经很少了. For those that can properly harness the YouTube algorithm, 创作者可以在最大的社交媒体平台上向数百万用户展示他们的作品. 另外, YouTube为创作者提供了一种内置的方式，通过基于广告的收益分享计划将这些新发现的观众货币化.
在最初的增长开始停滞后，这些好处对创造者来说可能是一把双刃剑. 第一个, 创作者很快就会对他们曾经用来扩大受众的算法心存感激. As growth starts to slow, 随着算法在他们脚下不断变化，创作者会发现自己在扭曲自己的创造性视野，以追逐观点. 这使得产生持续的收入变得困难，因为广告收入是基于视频观看量计算的. 缺乏可预测的收入使得它很难经营一个以每周多次生产高质量内容为中心的业务.
The ad based, rev share model treats the value of every fan equally. Every view is worth the same on YouTube. 不管浏览者是忠实地关注某个频道的人，每次视频一出来就看，还是碰巧偶然看到一个视频就再也不回来的普通观众. 这样一来，开发者就无法从最活跃的支持者那里获得全部价值，从而导致资金流失.
最后，创作者在社交媒体上并不拥有自己与受众之间的关系. Despite the fact that fans subscribe and follow to get closer to their favorite creator, the reality is that it’s actually the platforms themselves that control those interactions. 创作者和粉丝之间的交流仍然是由算法控制的，通常创作者需要付费才能以定向广告购买的形式接触到这些平台上的整个粉丝群.
D2C先行者
In response to these challenges, 一些高知名度的创作者已经推出了新的项目，旨在将他们的内容直接带给他们的粉丝群. 在过去的六个月里, 观察家, 至关重要的作用, Try Guys have all launched their own branded, direct-to-consumer subscription platforms. While all three rollouts have been slightly different in form and function, all have recognized the benefits of adding D2C into their distribution strategies.
第一个, D2C platforms provide a way for creators to form a deeper connection with their fans. By removing third party social platforms from the relationship, 创作者现在有能力直接接触到他们的所有观众，并收集和利用粉丝数据来做出更明智的商业决策.
Second, creator-owned platforms will allow creators to have full creative control. With no algorithm to cater to and without the threat of arbitrary demonetization, creators will only need to answer to their audience leading to more creative freedom.
Lastly, creators will finally be able to properly monetize their superfans. 创作者将能够通过给超级粉丝提供一个表达他们的粉丝的渠道来增加收入, while at the same time properly fully engage with this passionate subset of their larger audience.
机会之窗
Despite the clear benefits of creator-owned platforms, 创作者已经意识到，用单线程的D2C方法取代单线程的社交媒体策略并不是解决方案. Even though the D2C model does a good job at capturing the value of superfans, leaving YouTube completely removes all the growth benefits associated with the algorithm. While the revenue generated from ad revenue can be unpredictable, 它也可以是重要的，D2C模式还没有证明它可以完全取代这种收入. 完全转向封闭式的发行模式可能会疏远更多休闲粉丝，他们仍然想要访问内容，但还不足以为其付费.
What life looks like after YouTube may still be unclear for most creators. 但这些创作者拥有的平台的早期实验表明，尽管YouTube对创业仍然至关重要, direct-to-consumer distribution will help shape the future of the creator economy.
[Editor's note: This is a contributed article from Kiswe. 流媒体 accepts vendor bylines based solely on their value to our readers.]
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