The price has increased 6 times in two years. Can creative mid-roll ads replace traditional advertising positions?

"The busiest time is yet to come." As the person in charge of the creative insert project of "The Advisors Alliance 2" to be broadcast this fall, Youku's film and TV marketing commercial director Feng Jian has been busy recently.

As the number of paid members of video websites increases, the advertising space left for video platforms is getting smaller and smaller. The proliferation of soft and hard implants in programs such as "Ode to Joy 2" and "Midnight Diner" also challenges the limits of audiences' acceptance of advertising.

There has always been a huge gap between the audience's natural aversion to advertising and the need for video websites to survive. Creative inserts shorten this gap because they have little damage to the content of the series, are cost-effective, and are visible to VIPs.

As a result, according to media reports, almost all TV series with an estimated hit count of more than 1 billion have creative inserts. Prices have also risen, from 500,000 yuan for a single insert in "The Darker Side" to 10 million yuan for three inserts in "Ode to Joy 2", with the price increasing sixfold in two years.

According to estimates by entertainment industry research company Enlightenment, the market size of mid-roll ads in 2016 was about RMB 800 million. Drama Star Media CEO Cha Daocun also said: This year, the market size of creative mid-roll ads and creative overlay ads will exceed RMB 2 billion.

At one time, platforms, crews, and agencies that mainly deal in product placement in film and television all wanted to get a piece of the pie. How to maintain high-quality production levels and build standardized industry standards during the rapid development process is a difficult problem that creative product placement will face in the future, but video websites are spontaneously building industry rules.

The past and present of gradually standardizing creative mid-roll ads

On August 19, 2015, the online drama "The Darker Side 2" had been aired for nearly half a month, but producer Bai Yicong had not sold a single mid-roll advertisement. "At that time, most advertisers, including some experienced advertising placement companies, were on the sidelines about 'mid-roll ads'."

Two years later, the situation was quite different.

As one of the platforms, the sales of Youku's creative mid-roll ads demonstrate the popularity of the current market; the creative mid-roll ads of "No One Is as Good as You" and "Martial Universe" were sold out within 1 day, and "The General Is Female", "The Legend of Qin" and "Win the World" were also sold out quickly. The creative mid-roll ads of the second season of "The Advisors Alliance: Tiger Roar and Dragon Roar", which will be launched in the golden autumn, were sold out within 10 minutes.

"Nowadays, the creative interludes of big dramas have to be snatched up," Liang Pengfei, production manager of Ciwen Mitao Pictures, also lamented to NetEase Technology about advertisers' attitude towards creative interludes. As the producer of the creative interludes of "Princess Agents", the Ciwen Mitao team was responsible for the production of 53 creative interludes placed by 14 brands in "Princess Agents". "The natural traffic of the entire creative theater is as high as more than 87 million, of which the natural traffic of a creative interlude of Xiaozhu Short Rent is more than 8.8 million, excluding the placement."

In fact, before the online dramas started to use creative mid-roll ads, the prototype had already appeared in the 2006 episode of "Wulin Wai Zhuan", but at that time it was just to increase the comedy effect and no ads were placed. The "creative mid-roll ads" were truly made into a product in the 2013 episode of "Dragon Gate Escort". According to media reports at the time, it brought the producers between 5 million and 7 million yuan in revenue.

The hit TV series “The Mystic Nine” which premiered in July 2016 and attracted hundreds of billions of viewers, brought mid-roll ads to the masses.

According to Bai Yicong, the producer of "The Lost Tomb", a total of 7 brands were implanted in "The Lost Tomb", which brought in nearly 40 to 50 million yuan in revenue.

The creative interludes in each episode of the series were later made into a separate compilation, which has been played tens of millions of times.

Afterwards, the creative mid-roll format was quickly adopted by major video websites and also attracted the favor of brands. This summer, creative mid-rolls can be seen in almost all popular dramas on video websites.

But no one expected that the creative insert would unexpectedly become popular at the time.

"There is a certain degree of randomness in this," said Yuan Jialu, general manager of iQiyi's drama marketing center. She believes that a large platform plus a phenomenal IP are one of the main factors that make creative mid-roll ads popular.

iQiyi also took advantage of the opportunity to turn creative interludes into a systematic and standardized product, which was quickly scaled up. Yuan Jialu told NetEase Technology that "after seeing this business opportunity, iQiyi became the first video website to turn creative interludes into a platform-level resource product."

During the launch of Infernal Affairs in December 2016, iQiyi incorporated “creative interludes” into its advertising system for the first time.

When the creative mid-insert of "The Lost Tomb" was first sold, there was no complete pricing system. At that time, the price was based on the quote for embedded advertising rather than pre-roll advertising. When iQiyi made additional investments in August, the creative mid-insert of "The Lost Tomb" had already been delivered according to the CPM system.

In terms of the price, the first batch of brands that put creative mid-roll inserts have the best cost-effectiveness. Yuan Jialu confirmed that "the creative mid-roll inserts during the "Old Mystic Nine" period can be sold for 4 million now, but in the environment at that time, the price of putting a creative mid-roll insert for one episode was only a few hundred thousand."

Since then, as the market gradually matured, many platforms also began to sell mid-roll ads as products.

"The price quoted for creative mid-roll inserts is based on traffic estimates." Yuan Jialu further explained to NetEase Technology that the value of creative mid-roll inserts is divided into two parts. One part is the filming and production costs of the film company, plus the value of copyright licensing, which is the fee that iQiyi (the video platform) needs to pay to the film company; the other part is the media resource value of the video platform, which is the traffic of the series multiplied by the CPM unit price (cost per thousand impressions), and the CPM pricing is also related to factors such as the duration of the advertisement, the content IP level, and the proportion of VIP users.

The overall price quote for a creative mid-roll = film and television shooting and production costs + film and television copyright authorization + media resource costs (CPM x number of video clicks).

CPM (cost per thousand) = (advertising cost/number of people reached) × 1000.

There are two solutions for video platforms in terms of advertising. One is the dot-by-dot system represented by iQiyi. In the advertising system, creative mid-roll ads are placed at a certain point in the form of technical placement. The backend can monitor whether the mid-roll ads are exposed, the target audience, and the effect through code. In addition, because there is no need to spend time on pressing the film, the efficiency of the entire delivery process is also improved.

But its disadvantage is that it may cause mismatch of devices due to technical problems, and the result is that users may not be able to see the ads. "Users will open the video platform on different clients and mobile phone models, and sometimes encounter incompatibility and mismatching problems, and the mid-roll ads will not be delivered." Wang Dingran, Chief Marketing Officer of Fanpu Jinke, told NetEase Technology that he had encountered such problems when delivering creative mid-roll ads before. Fanpu Jinke, which owns two important brands, "Ai Qianjin" and "Qianzhan", has had several successful collaborations with popular IPs.

In addition, since it is integrated into the advertising system, members cannot skip the creative interludes when watching videos.

The other is the form of film-pressing, represented by Youku. That is, the finished creative insert is directly embedded in the film source. Feng Jian believes that film-pressing is the safest way of delivery at present, with the lowest error rate, and members can fast forward, which is also better than point-by-point delivery in terms of user experience.

But the disadvantages of compressed film delivery are also obvious. In addition to the low delivery efficiency, the modification process is cumbersome and time-consuming. Tantan partner and CMO Li Yuwei further explained to NetEase Technology: "It is very difficult to modify compressed films because you have to re-import the entire film source and re-compress it. For example, compressing a high-definition 40-50 minute film will take at least an hour."

"At present, Youku still has no need for system delivery, but it does not rule out the possibility of using a managed system for delivery in the future," Feng Jian told NetEase Technology.

Are commercials more exciting than feature films? How are creative inserts divided?

The creative mid-roll ads are performed by actors from the drama and are 30-60 seconds long. They are created around the plot and are mostly in the form of small theater or extra episodes.

One of the characteristics of creative mid-roll is that it tells users that this is advertising time, and uses customized plots to intuitively display and promote products to obtain maximum exposure for the products. This kind of placement reduces the damage to the original plot, ensures user experience and enhances the spreadability.

This is also the reason why, although the cost of creative inserts continues to rise, it is still considered by industry insiders to be the most cost-effective at present.

In addition, this high cost-effectiveness is also reflected in flexibility, timeliness and controllability. "For example, for Internet products with frequent product updates or fast demand changes, the demand for advertising is 'short, flat and fast'. The creative inserts have a short production cycle, are not tied to the plot, and are fast to broadcast, so customers can follow up before or during the broadcast of the drama in time." Tantan partner and CMO Li Yuwei told NetEase Technology.

After selling more than 40 ads for "Old Mystic Nine" in the early stage, iQiyi conducted a second run in August because the broadcast exceeded expectations. Among them, Tantan bought 5 ads in the early stage and took the opportunity to buy 5 more ads.

However, mid-roll advertising has not yet reached a mature stage. For a considerable number of industry insiders and advertisers, this is still a new way of advertising placement, which requires continuous exploration by all three parties.

NetEase Technology has learned that there are two types of creative mid-roll ads on the market. One type is dominated by the video platform, which has the right to attract investment; the other type is that the investment right belongs to the drama producer, and the creative mid-roll ads are distributed together with the drama series to different video platforms.

Judging from the current situation, most of the investment rights are in the hands of video platforms at this stage. Taking iQiyi as an example, the sales rights and resource pricing rights of iQiyi's creative inserts belong to the platform. The platform invites the production team to participate in the production and provides production fees.

“As more and more content becomes open, the producers will wonder why the platform should take the lion’s share of the revenue when they are inserting their own ads into their own dramas. Should they set up a business department to recruit original content? Some agencies are also wondering if they can do this.” Yuan Jialu believes that some people in the industry have a misunderstanding about the dominant power in creative content.

“Why should I sell my own advertising time slot to others?” Yuan Jialu made it clear that creative mid-roll ads belong to the patch advertising system, which is played through the video platform’s advertising system and occupies the media’s advertising time.

“Why should the prime advertising time slots of media platforms be handed over to other parties to operate?” Yuan Jialu clearly stated that creative mid-roll ads belong to the patch advertising system, which are played through the video platform’s advertising system and occupy the video platform’s advertising time slots.

The most valuable part of creative mid-roll is the creativity plus the advertising. The production and advertising ratio of ordinary advertisements is 1:9, which means that if you spend one million to produce an advertisement, you will probably spend at least ten million to advertise it. Therefore, media placement is the most critical and the most expensive. On the other hand, if advertisers spend a lot of money and work hard to create a piece of content, but not many people see it, then the entire advertisement is a failure.

In addition to media placement, video platforms also play the role of coordinator, providing more services to brands and producers. "The production of creative inserts is supervised by iQiyi, and the production team is usually invited to participate in the production, and advertisers submit their requirements to iQiyi. iQiyi's drama marketing center, commercial production center, commercial operation center, etc. will all participate in this process."

NetEase Technology briefly sorted out the process from the production to the delivery of creative mid-roll ads:

1. Video websites first release resource positions and prices to attract advertisers

2. Advertisers decide to place mid-roll ads

3. The platform sends the advertising requirements to the drama producers

4. The production team creates the advertising script based on the client’s demands

5. The drama and the advertising parties negotiate the details of the script through the platform (repeated revisions)

6. Finalize the script

7. Start shooting (platform, customer watching)

8. The platform will place creative mid-roll ads in the broadcast episodes as planned

The production of creative mid-roll inserts is usually done after the entire series is shot. After determining the quality of the series and estimating the traffic, the broadcasting platform will then negotiate for investment and set the price, and advertisers can then place their ads with confidence.

In addition, creativity is generally completed by the production team. "Creative inserts are closely related to the content. Only the production team will be familiar with the content of the entire play, understand the order in which each character appears, know which place is suitable for inserting what kind of advertisement, and can tailor-make plans for the advertisements." Feng Jian believes that if the platform coordinates the relationship between brands and the platform, advertising placement will be smoother.

However, the production process of mid-roll ads is complex and tedious, and requires constant coordination among the brand, platform, and drama parties.

Creativity is the most difficult and core part. Peng Zaifei, production manager of Ciwen Mitao Films, said, "Besides, when making a mid-length insert, you have to come up with ideas based on the client, which is more restrictive."

"The producers' writing style tends to be more like that of film and television scripts. For example, they lay too much groundwork before introducing the focus of the product, while the length of the advertisement is limited. In order to better exert the advertising effect, our company's internal team participates in the creation of the mid-insert advertising script to the greatest extent possible. According to their own design requirements and standards, they quickly explain the core of the product in a short period of time and catch the audience's attention." Wang Dingran said that Fanpu Jinke's implantation appeal is very clear, that is, to convert into product purchases. Marketing that is too invisible will hardly stimulate users' senses and consumption desires, and it will also be difficult to achieve conversion effects.

"It is too difficult to balance artistic and commercial demands at the same time." Li Yuwei also believes that advertisers spend money to buy more exposure, so they hope to be stronger in commercial demands.

According to Yuan Jialu, the selling price of a single original post currently varies, but in general, the producer can get a fee ranging from 10% to 15% of the selling price. This part also involves actors, production costs, copyright licensing fees, etc.

However, the producers do not accept all creative inserts, and will also weigh the input-output ratio to make decisions. "Although we make money for the platform father by making inserts, the bottom line as a producer is that we cannot lose money. It doesn't matter if we can't make much, but we can't lose money again." Liang Pengfei joked. In addition to the actor's fee, all the daily living expenses, labor materials, etc. of the production team are also a considerable expense. The creative insert team of "Princess Agents" has more than 80 people. If you add extras, sometimes the number can reach more than 120.

From 500,000 to 3 10 million, chaos has emerged in the creative mid-insert market

"The creative insert of "The Mystic Nine" is the most successful so far." The social APP Tantan was one of the first advertisers to place an ad in "The Mystic Nine". Since then, it has successively cooperated with many popular IP dramas. Tantan partner and CMO Li Yuwei believes that the key lies in taking advantage of the dividends and first-mover advantage of the phenomenal IP.

"At that time, this kind of resource had not been tried on a large scale, and the effect was not well understood, so the value was underestimated, or not correctly estimated. Once this attempt became popular or successful, the pioneers would enjoy the first-mover advantage brought by this innovation, but the cost of following would be high." As one of the first advertisers of "Old Mystic Nine", Wang Dingran bought 12 creative inserts for "Ai Qian Jin" at a price of 800,000 yuan per piece. "Now it has increased several times."

As more and more brand clients are willing to pay for this new type of advertising, the market price of creative mid-roll ads is also soaring.

According to media reports, Youku now sells an average of 1.5 million ads per episode, and iQiyi offers 2-2.5 million ads per episode for dramas with guaranteed traffic of more than 1.5 billion. Some brands revealed that the price of ads in some major dramas has exceeded 3 million.

"The value of creative mid-roll inserts is still underestimated." Feng Jian told NetEase Technology that there are at least ten creative mid-roll insert projects being solicited and executed on the Youku platform at the same time, and the starting price of all of them has reached more than one million yuan.

In the current advertising market, Internet products, traditional fast-moving consumer goods, and food and beverage categories have a relatively high recognition and purchase rate for original posts. In addition, the willingness of some brand customers to place advertisements is also increasing.

"No category is more suitable, only the speed of acceptance." According to Feng Jian, judging from the sales of "The Advisors Alliance 2", customers from other industries are entering the market, such as cosmetics, automobiles, and mobile phones. "In the past, we thought these customers might not do creative inserts, but they are also coming in."

Prior to this, Audi had spent 10 million to purchase three creative inserts for "Ode to Joy 2" on the Tencent platform.

When a business is very profitable, people will flock to it, and the consequence is that there will be a certain amount of chaos in the market, and the creative insert market is no exception.

So by this year, chaos has already appeared.

Tantan and Fanpu Jinke, the earliest launchers, may no longer consider this format in the future. "In fact, I am not particularly optimistic about this format next year and the year after. We will explore something new in the future. Because the current cost-effectiveness is not as good as before."

The main reason is the rising prices. The influx of brands not only increases advertising costs, but also lowers the overall return on investment. "With the same delivery standards, if the production and licensing costs increase, the advertiser's costs will increase. When the production and delivery become inappropriate, the investment is not worth it," said Yuan Jialu.

"In the past, many dramas did not have mid-breaks, but now not only are there more and more mid-breaks, but also more mid-break openings, which makes the mid-breaks appear crowded. People see the mid-breaks very often, which makes users feel bored." Li Yuwei is now worried that too many creative mid-breaks will disrupt the market order.

"There are two commercial breaks in a 38-minute web drama, and the duration is so long. Am I here to watch the drama or the commercials?" Mumu, who owns memberships of several video websites, expressed his dissatisfaction to NetEase Technology about the excessive creative commercial breaks that squeezed out the content of the drama.

According to media statistics, the creative interludes currently on the market are generally 30 to 60 seconds long and are inserted once per episode. However, with the popularity of creative interludes and the influx of advertisers, some re-broadcast dramas have already inserted two ads in one episode.

The production level is also declining. When the quality is reduced, the advertising effect will also be greatly reduced. NetEase Technology watched the creative interstitials in 10 recent dramas that have been or are being broadcast, and found that the interstitial ads in one drama have already used green screens.

The more fundamental problem comes from how to improve the quality of creative advertising. As creative interstitials become the norm, how to maintain a high level of script creation is also a problem that will be faced in the future. Peng Zaifei, production manager of Ciwen Mitao Pictures, said, "The most feared thing is to dry up the pond to catch fish. Creative forms are limited. In the past, a company shot one commercial a year, but now a product has dozens of creative interstitials a year. It is difficult for each one to have a great idea."

However, the producers also have their own unified standards when making creative interludes. Take the creative interlude of Princess Agents as an example: First, the creative interlude must be integrated with the drama, must be the image of the characters in the drama, and maintain the relationship between the characters in the drama. Secondly, do not make hard advertisements that deviate from the plot, do not consume the image of the actors themselves, and do not be vulgar. Thirdly, the duration is fixed. The interlude of Princess Agents was agreed with iQiyi to be 45 seconds.

"We will strictly control the quality of creative interludes." Yuan Jialu also introduced in detail the production requirements of iQiyi's creative interludes:

First, there must be a transition title so that people don’t misunderstand it as the main film content.

Second, the original cast was used, and the character relationships and order of appearance were strictly followed to avoid confusion with the original plot. "For example, some characters appear later. If they appear in the advertisement in advance, the audience will not only not know who they are, but also leak the plot in advance."

Third, there needs to be a plot introduction in the early stages, and try to avoid having the product appear at the very beginning, but instead bring out the characters naturally based on the plot.

Fourth: The characters and scenes need to have some connection with the original drama content. But we don’t force a strong connection with the context, “because strong connection is hard to come by, and there are too many things involved.”

"If the industry has too high expectations, which leads to a decrease in advertising effectiveness for advertisers, then it is an inflated market and will eventually return to rationality." Yuan Jialu said that currently, iQiyi's drama marketing team has been working with other video sites to establish standards for creative mid-inserts.

How should brands target their customers when the traffic period has passed?

As a form of advertising combined with content, creative mid-rolls, after being popular among consumers, will also reach a bottleneck in terms of efficiency and the benefits they bring to brands over time, as more brands continue to join and as consumer fatigue sets in. That bottleneck may eventually converge to an average advertising efficiency, and if it reaches that efficiency, the advantage of creative mid-rolls will not be that great. So it is a phased product. So what do new brands need to pay attention to?

"Our content marketing team will evaluate and score TV series based on several major dimensions, such as the production team, script content, broadcast platform, whether it is a well-known or scarce IP, the experience of the producer, and the cast, before deciding whether to place them." Wang Dingran said that there are many factors to consider when choosing a TV series to be implanted, and the risks are also very high. Many times, due to environmental factors or conflicts with other resources, many TV series cannot be put on the shelves or even have unsatisfactory scheduling. "For example, our recent investment in "Legend of the Ancient Sword" has most of the potential to become a big hit, such as popular stars and original IP, but its users were squeezed out by "Princess Agents" and "The First Half of My Life", and the effect was not as ideal as expected, at least the input-output ratio was not very ideal."

Brand placement should first be based on the purpose of brand marketing. If you want to seek product conversion ability, creative inserts will highlight the advantages of the product in a small plot. During the broadcast of "Old Mystic Nine", the natural registration volume of Aiqianjin's website was 1.8 times the usual volume. Not counting the natural traffic from promotion, the traffic of people who actively came in through IOS and Android natural traffic searches was 3 to 5 times the usual volume. During the broadcast of "River God", the registration of performance-based products increased significantly, and the natural traffic of the money station increased by as much as 50%.

For the effect of implantation, Fanpu Jinke has its own set of evaluation standards. The internal standards refer to the search volume and download volume before and after the product is launched, while the external standards refer to whether the Baidu Index, media exposure, etc. are consistent with the business growth rate.

However, if brands want to create high visibility in a short period of time, Wang Dingran recommends not investing in creative inserts, "because this method has two disadvantages. One is that its price is relatively high now. At the same price, the number of people reached is not as many as that reached by using advertising patches, and the difference in magnitude is quite large.

Secondly, when a brand places an ad in a drama, the image it portrays is more related to the drama, rather than directly reflecting the brand itself, so mid-roll ads are not very direct in terms of building a brand image.”

Secondly, product placement should also be based on the stage of brand development. If the brand is still in its early stages and wants to seek cost-effectiveness, it only needs to buy a small amount of resources while trying to hit the best sellers. But if the brand is in its rising stage and needs to cast a wide net and make a lot of market resource conversions, then you have to buy resources even if there is a 50% chance of success.

From the perspective of the producer, Liang Pengfei believes that the most important thing is whether the drama itself matches the brand. "In terms of content, character image, target audience, tone, etc., whether there is a good combination. It is difficult for a drama to attract all audiences, let alone be suitable for all brands."

How to balance the contradiction between users and profits

The public's aversion to advertising is innate. No matter how little damage the creative insert does to the content, or how interesting the content is, it cannot cover up its advertising attributes and affect the viewing experience of users.

Video websites have long since failed to understand the reasons why these websites harm user experience. So why would they decide to take the risk of losing members?

"Because we have to survive, we have to survive."

Yuan Jialu said that video websites must always find a balance between user experience and profitability. "For video websites, there will be more and more VIP users in the future. If there is no advertising income at all, the platform will be in a state of long-term losses. In the end, there will be no video websites, and viewers will not be able to enjoy high-quality content."

Paying users can skip ordinary ads, but cannot directly skip creative interstitials. For video websites that now have increasingly perfect membership payment systems, this is undoubtedly a new way of revenue, and the profits are not low.

It is understood that creative interludes have become the main revenue-generating advertising resource in iQiyi's top dramas, boosting the overall revenue of big drama marketing. In addition, creative interludes have already accounted for a quarter of Youku's big drama advertising revenue, and Feng Jian believes that it will account for a third in the future.

In iQiyi's ad-free agreement, traditional advertising forms such as pre-roll ads, and new types of advertising such as Band-Aids, original stickers, and pop-up ads are not within the scope of the agreement.

However, Yuan Jialu and Feng Jian both said that user experience is still very important for video websites, so iQiyi and Youku have begun to formulate industry rules for their products in an attempt to establish industry norms and maintain user experience.

In addition, Feng Jian also said that Youku will try to reduce users' annoyance with advertisements by improving the quality of creative inserts.

It is reported that the current mid-roll ads also focus on improving quality and becoming more refined. Unlike the initial confinement to a simple scene with only a few characters, today's creative mid-rolls are increasingly developing towards the level of a serious drama, with not only rich scenes, but also a large number of group performances, and the actor standards are also improving. Liang Pengfei introduced that the creative mid-roll of "Princess Agents" not only used frame extraction, silent film and other technologies, but also created an MV. "We still maintain the same high standards as the serious drama."

As the overall production level becomes more and more sophisticated, the production cost of creative inserts is also increasing day by day. Some industry insiders said that the production cost can now be as high as hundreds of thousands or even millions of yuan. However, the production cost of "Old Nine Gates" is only 50,000 yuan.

According to a survey of viewers by the Beijing News, 75% said they would watch the creative inserts.

"The biggest obstacle is how to make VIP paying members not be too disgusted by this method. You have to keep the standard of being interesting. Otherwise, people will be very resistant to watching ads in the future." Therefore, iQiyi has been conducting advertising user satisfaction surveys for two consecutive years. Last year, during the period of "Old Mystic Nine", users' preference for this form of creative interstitial ads was 80%. This year, in "Princess Agents", it was about 70%. Although there will be a decline, it is not too much."

The idea of ​​"paying to get rid of ads" will gradually disappear. Yuan Jialu believes that in the future, ad-free may not be the last demand of members, because members are more interested in enjoying good content and services. "It is even possible that some particularly good content can be paid for on a single basis."

As a winner of Toutiao's Qingyun Plan and Baijiahao's Bai+ Plan, the 2019 Baidu Digital Author of the Year, the Baijiahao's Most Popular Author in the Technology Field, the 2019 Sogou Technology and Culture Author, and the 2021 Baijiahao Quarterly Influential Creator, he has won many awards, including the 2013 Sohu Best Industry Media Person, the 2015 China New Media Entrepreneurship Competition Beijing Third Place, the 2015 Guangmang Experience Award, the 2015 China New Media Entrepreneurship Competition Finals Third Place, and the 2018 Baidu Dynamic Annual Powerful Celebrity.