#263: How To Succeed on YouTube Today feat. Colin & Samir [Greatest Hits]

这是个很好的案例。

Great case study.

马克·罗伯在拥有一千多万订阅者之前，一直没辞掉全职工作。

Mark Rober didn't leave his full time job until he had 10,000,000 subs.

你不用这么极端，但刚开始时可以想想这一点。

Don't have to get that aggressive, but just think about that as you start.

等你真正进入这个领域，你会发现主要分成两类商业模式：企业对企业广告，和直接面向消费者的付费模式。

Then as you as you get into the business, I would say you're split up in the world of you're in business to business advertising, and you're in direct to consumer payments.

作为创作者，你所能选择的就这两条路。

Those are the two sides of what you could do as a creator.

企业对企业广告又可以细分为两种。

Business to business advertising is split into two.

一种是AdSense。

One is AdSense.

当你加入YouTube创作者计划后，YouTube会给你发一笔收益，这笔钱真的很诱人。

That's the check that YouTube's gonna gonna cut you as you become a part of the partner program, and that check is magical.

它就会自动到账。

It just shows up.

你只要根据自己的领域持续拍视频就行。

You just make videos depending on your niche.

比如说你做的是信用卡相关的领域。

Let's say you're in the credit card niche.

那你的千次播放收益可能会更高。

Maybe you have a higher CPM.

你如果不在娱乐领域的话。

Maybe you're not in the entertainment niche.

那你的千次播放收益就会低一些。

You have a lower CPM.

但不管怎样，这笔钱都会准时到账。

But no matter what, that check is gonna show up.

我们早期最重要的一件事，就是完全不把AdSense的收入算进预算里。

The most important thing that we did early on was we left that AdSense check off of any of our budgeting.

我们从没拿这笔收入做预测，也没根据它来招人。

No projected revenue against that, no hiring against that number.

我们对这笔钱特别谨慎，因为你对它几乎没什么掌控力。

We were just really cautious with that because you have very minimal control over it.

这个数字很神奇，但同时也小得不可思议。

And that number was magic, but it was also magically small.

持续了很长一段时间。

For a very long period of time.

所以一开始，根本没必要把它算进预算里。

So in the beginning, didn't even make sense to budget it in.

但随着它慢慢增长，每年成倍地往上走，我们还是把它排除在预算之外，毕竟我们真控制不了它。

But as it started to creep up and kind of grow exponentially year over year, we still keep it out of the budgeting because we don't really control that.

直到今年也是，我们知道明天可能因为市场变化、各种因素，这笔钱就没了，或者变得完全不一样。

Even to this year, because we know that tomorrow, on market factors, based on all types of different things, very possible that that check goes away or just looks really different.

第二种方式是通过直接的品牌合作，也就是品牌广告。

The second way is through direct brand relationships, through brand deals.

我记得有个数据说，高达92%的创作者主要靠品牌合作赚钱。

I think there's a stat that's like 92% of creators make the majority of their income through brand deals.

这会是你最主要的收入来源。

That is going to be your bread and butter.

要想做好品牌合作，你得先退一步，搞清楚自己频道的几个关键点。

And in order to be effective at brand deals, you have to take a step back and understand a few things about your channel.

首先是，你的观众是谁？

The first is who is the audience?

你到底在跟谁说话？

Who are you talking to?

接下来，你为这些观众提供了什么价值？

The next is what is the value proposition to that audience?

然后你要想清楚，你有没有一种稳定的方式，持续把这些价值传递给观众？

Then you need to understand, do I have a consistent way of delivering that value to that audience?

等这些都想明白了，再考虑品牌合作的事。

Then you can start thinking about brand deals.

我们有一个叫Creator Startup Pro的教育项目，会手把手教你为自己的品牌和YouTube频道打造一份推广方案。

We have an educational program called Creator Startup Pro, where we essentially walk you through building a pitch deck for brand deals for your business and for your YouTube channel.

这份方案就是我们当初刚开始接品牌合作时用的原版。

It's the exact pitch deck we used when we started selling brand deals.

我觉得这个过程特别重要，因为它让你意识到，你做的不只是吸引观看量。

And I think it's a really important exercise to recognize, you're not just in the business of viewership.

这其实跟我们一开始聊的话题是一脉相承的。

It goes back to what we talked about in the beginning of this episode.

你真正做的，是打造一个品牌。

You're in the business of building a brand.

你得再清楚一点，你的观众到底是谁？

And you have to understand, again, who is that audience?

他们为什么愿意看你的内容？

Why are they watching?

你能不能持续稳定地提供他们想要的东西？

Can you deliver that on a regular basis?

那别人能从你这儿买什么样的广告产品，真正融入到内容里呢？

And then what is the ad product that someone can buy from you to actually integrate into that?

这部分收入将会是你最主要的来源。

That's gonna be the lion's share of your revenue.

等你开始收到越来越多的品牌主动联系，比如邮件说‘我们想赞助你的节目’。

Once you get into the point of regular inbound brand requests, like you're getting emails of, Hey, we wanna sponsor your show.

想在你的频道做多期联合赞助。

We wanna do a multi video sponsorship on your channel.

那时候你就会意识到，这真有可能变成一门正经生意。

Then you're getting to the point where you're like, Okay, this could be a real thing.

另外一种变现方式，是直接面向消费者的模式。

Now, the other side of monetization is the direct to consumer side.

比如说，你有自己的周边商品。

That's gonna be, let's say you have merchandise.

你可以把YouTube当成获客渠道，本质上你是个直接面向消费者的电商生意。

So you could be a e commerce business that wants to use YouTube as lead gen and go, Actually, we're direct to consumer.

所以我们收入主要来自人们购买我们的产品。

So our monetization comes from people buying our product.

可能是数字产品。

Could be a digital product.

我们有课程。

We have courses.

你也有课程。

You have courses.

有人在卖Notion模板。

People sell Notion templates.

你可以卖类似这样的数字产品。

You could sell a digital product like that.

或者可以是会员制、订阅平台，像你这样的，或者Patreon这类模式。

Or it can be a membership, a subscription platform, something like you have as well, or a Patreon or something like that.

这是一种不同的盈利模式。

And that's a different monetization model.

科迪·科和诺埃尔·米勒刚在YouTube上起步的时候，还在Fullscreen公司全职上班。

Cody Ko and Noel Miller, when they started on YouTube, they were working full time jobs at full screen.

他们搞了个计划，说一旦赞助人数达到两千，诺埃尔就辞职，专心做内容创作。

They made this kind of campaign around, like, once they got to 2,000 patrons, Noel would quit his job and go full time as a creator.

他们真的做到了。

They did that.

那个Patreon后来发展得特别大。

That Patreon ended up growing really big.

这就是我觉得关于变现方式的全景图，也是你探索自己道路时可以参考的框架。

So that's kind of the pie chart that I would say of, like, monetization and how to explore your own journey.

一般来说，第一步通常是AdSense，如果你是YouTube创作者，这很可能是你最先拿到的收入。

I would say the classic steps are, like, AdSense is probably gonna be one of your first checks if you're a YouTube creator.

第二步，也是最主要的一块，是品牌合作。

Your second and the most substantial is gonna be brand deals.

再往后，如果你愿意，就会开始思考怎么直接跟观众建立更紧密的联系。

And then as you go further, you're gonna explore how to engage with your audience on a direct level if you want to do that.

这真有意思。

It's so interesting.

跟我自己的经历完全相反。

It's so counter to my story.

我刚进入视频领域时，看到的完全是这条标准路径。

As I entered the world of video, that is absolutely the typical path that I see.

但我以前主要搞写作和邮件，品牌合作对我来说简直像天方夜谭——什么？

But coming from, like, the world of, mostly writing, email, brand deals are like this thing that people turn their head like, what?

我还能在邮件里放广告赞助？

I could add sponsors to my emails?

他们直接跟观众做推广，完全不绕弯子。

And they're doing like fully direct to audience sort of offers.

特别有意思的是，最自然的做法其实是两者都做。

And it's so interesting because like the obvious answer is you do both.

关键是找到最适合你的平衡点，能做到多少就做多少。

And you you do like the ideal mix to the the degree that you can.

在深入这个话题之前，我想听听你对品牌合作和AdSense未来走向的看法。

Before I kinda go down that pathway, I'm curious to hear where you think that is going in terms of brand deals and even AdSense as time passes.

这两个领域的蛋糕在变大吗？

Is the pie growing there?

从这两方面赚钱是越来越容易了，还是越来越难了？

Is it getting easier to get money from those two areas, or is it getting smaller?

我觉得品牌合作这块的市场在扩大。

I think the brand deal pie is getting bigger.

目前品牌还在把预算逐步转向创作者领域。

I think we're still at a point where brands are shifting dollars to the world of creators.

不过这里关键的问题是长视频和短视频的区分。

Now, I think the important conversation there is long form versus short form.

短期内，更多品牌预算可能会流向短视频。

I think the reality is there's probably in the short term, more brand dollars that shift into short form.

这是因为品牌可以把短视频内容直接当作付费广告来投放。

And a lot of that is because brands can run short form content as paid media.

它在所有平台上都适用。

It works across every platform.

品牌可以以多种方式使用这些素材。

They can use the asset in multiple different ways.

当品牌找创作者制作短视频内容时，六十秒里，品牌信息的占比远高于软性植入。

And when a brand comes to a creator to make a short form piece of content, out of the sixty seconds of content, a lot more from a percentage basis is the brand's messaging than integration.

虽然深度植入的长视频形式可能会持续很久，但你看联合利华刚聘了一位37岁的新CEO，他打算把很大一部分预算转向创作者营销。

And so while the long form integration, I think, will be around for a long time, as you start to see Unilever just hired a new CEO who's 37 years old and wants to shift a large portion of their budget to creator marketing.

这种趋势肯定会体现在短视频内容上。

I think that's gonna show up in short form content.

所以我觉得品牌预算正在往这个方向转移。

So I think that's where the brand dollars are moving.

我觉得AdSense还会继续增长。

I think AdSense will continue to increase.

YouTube是联网电视上观看量最高的应用，而传统电视广告市场规模超过1600亿美元，这部分预算很可能会一点一点地转向YouTube，延续它一直以来的趋势。

YouTube is the most watched app on connected TVs, like the television advertising business, the linear TV advertising business, which is 160,000,000,000 plus dollars, that probably will start to move small, in small chunks over to the YouTube world and continue on that path that it's been on for a while.

不过我觉得，短平快的品牌合作，观众的投入度通常更低。

I do believe though with short form brand deals, you have a less engaged viewer.

也不是绝对，但确实更可能遇到注意力不集中的观众。

Not always, but I think you're more likely to have a less engaged viewer.

长视频里当然也可能有不专心的观众，但如果你把握得好，长视频的植入效果要强得多。

It doesn't mean you can't have a less engaged viewer in a long form video, but I think if you hit it right, a long form integration is way more impactful.

对吧？

Right?

因为这时候观众其实是默许了你的内容。

Because you have a viewer who almost has given you permission.

你已经把他们吸引到视频的后半段了。

You've made it so far into the video.

如果植入得当，真正提升了内容体验，观众记住它的可能性也会更大。

And if you do the integration right, and it actually elevates the messaging and the experience for the audience, the likelihood that it, again, will be memorable and not forgettable is higher.

是的，我觉得播客不一样，它不是自助式的，但我的收听和消费习惯确实受到了影响。

Yeah, I find podcast This is not self-service, but I find my own consumption habits and purchasing habits.

我特别容易被播客广告影响。

I am very influenced by podcast ads.

这可能跟我年纪或者我接触的媒介有关。

And maybe that's just because of my age or the medium that I'm in.

我们之前跟蒂姆·费里斯做节目时也聊过这个。

But we talked about this with Tim Ferriss when he was on.

只要蒂姆·费里斯念广告，我十有八九就会下单。

Tim Ferriss reading an ad was a high likelihood that I was gonna buy.

所以我觉得，最好的营销其实就是口碑传播。

And so I think that comes down to the best marketing is word-of-mouth.

对吧？

Right?

没有什么比朋友推荐更管用了。

There's no better marketing than your friend telling you about something.

正因如此，我才去琢磨：口碑传播的规模化版本在哪？答案就在播客和长对话里。

And because of that, you explore where is the scaled version of word-of-mouth and podcasting and long form conversation.

这就是那种口碑传播的规模化版本。

That's the scaled version of that.

我也觉得品牌合作会越来越好，因为它们会变得更定制、体验更个性化，真正提升整体体验，而不是打断内容。

I also think brand deals are gonna get better as they become a little bit more custom, as the experiences are more custom, and they really elevate the experience and not interrupt.

比如那个足球创作者、体育类博主Destroying，他来过我们节目。他有一档很火的系列节目，是一对一竞技的形式，有人能赢一万美金。他会去不同的城市，让观众一对一比赛，要么接住球，要么把球挡出去。

So Destroying, who's a football creator, a sports creator that we've had on the show, his hit series is this one on one series where someone, you know, they have like a competition series, you can win $10,000 He goes to different markets, and people compete one on one to either catch a ball or block the ball.

然后NFL就介入合作，说：嘿，你正在做这个系列节目。

And the NFL came in and partnered and said, Hey, you're doing that series.

这是你观看量最高的剧集。

It's your most watched series.

我们为什么不在NFL的市场和体育场里做呢？

Why don't we do it in NFL markets and NFL stadiums?

对吧？

Right?

所以他们深入合作，为他的观众提升了这种体验。

So they came in and like really partnered deeply and elevated that experience for his audience.

我觉得，真正出色的长篇品牌合作，未来就会朝这个方向发展。

And I think that's really where long form brand deals, when they're at their best, are gonna move.

当品牌方意识到，我们不是只想让你花六十到九十秒，简单地传达我们的信息——哪怕这信息对你的观众来说很相关——我们根本不是这个意思。

When a brand comes in and realizes, Hey, we're not just asking you to take up sixty to ninety seconds and deliver our messaging, even if it's relevant to your audience, we're not asking you to do that.

我们真正要做的是，找到一种方式，整体提升你的内容体验。

We're actually gonna find something that elevates the experience overall.

我同意。

I agree.

这个例子我特别喜欢。

I love that example.

但我也觉得，这种合作属于那1%，和99%的品牌合作完全不一样。

But it also strikes me as like, that is a 1% versus 99% brand deal.

对吧？

Right?

没错。

Yeah.

对。

Yep.

我现在的私信比以前多得多，给我的感觉是——

The impression I've gotten as someone who gets, like, more inbound than I used to

是的。

Mhmm.

我收到的那些品牌合作邀约，说实话简直可笑。

The inbound that I get from brands most of the time is, like, laughable to me.

我觉得很多创作者都严重低估了自己的价值。

The impression I get is that so many creators are just wildly underselling themselves.

他们为品牌做专属内容，不管什么形式，报酬却低得可怜。

They're doing like dedicated content, whatever format for these brands for very little money.

曾经有个正经品牌来找我，想赞助我的频道。

I had a brand come to me that was a legitimate brand and they asked about sponsoring the channel.

我报了我们常规的整合推广价格，几千美元起。

And I gave them our typical rate, is in the thousands of dollars for an integration.

他们说，那给300美元怎么样？我直接回绝了。

And they're like, how about $300 And I said, well, no.

现在我们的需求远大于供给，这个价格根本行不通。

We we have more demand than supply and that would not work.

他们说，这只是个测试而已。

They said, well, it's a it's a test.

如果效果不错，再按我们平时的报价来。

And if it goes well, then we'll we'll do your typical rate.

我理解这种做法的用意。

And I can see a circumstance for doing that.

但话说回来，我还是需求大于供给，根本没必要妥协。

But also, again, I have more demand than supply, so I don't need to do that.

我就一直拒绝，他们却一次次小幅加价，最后干脆发了封邮件就没了下文。

I just kept saying no, and they kept incrementally raising their offer just to a no email.

我觉得很多创作者太早答应了，对。

So it's it's like I think a lot of creators are saying yes too early and Mhmm.

而且承诺了超出实际需要的东西。

And promising more than they need to.

对。

Yeah.

我真的很希望更多创作者能更坚定地争取应有的价值，尤其是做专属内容的时候。

I really want more creators to just, like, push further on the worth, especially if they're doing dedicated content.

我有很多想法想说，先说第一个。

I have a cup I have a ton of thoughts on this actually.

我认为创作者和你在Facebook上买的广告完全不一样，根本不是一回事。

So number one, I think creators are not a replacement or even similar in any way, shape or form to your advertising that you bought on Facebook or that you buy on Facebook.

但有时候人们却把两者混为一谈，觉得‘那我们就拿Jay做个测试吧’。

And I think sometimes that is they're equated where it's like, Hey, yeah, we're just gonna do a test with Jay.

我们花多少钱，就和投一条Facebook广告一样。

We'll spend as much as we would have spent on a post on Facebook.

看看反馈怎么样，转化率如何，再决定下一步。

We'll see how the responses, we'll see how conversions are, and we'll go from there.

我觉得这种看法完全误解了创作者究竟是谁、做什么的。

I think that's a completely incorrect view of what a creator is and what a creator does.

因为有一部分是，不管你怎样，你都能获得这个曝光机会和时间。

Because there's a part of it that's just like, Hey, you're getting the space and the time no matter what.

这就跟电视广告一样。

It's like a TV ad.

至于你作为品牌能不能转化，这不在我这个创作者身上，而是在你那儿。

Now, your ability to convert as a brand is not on me as the creator, it's on you.

如果你希望这能发展成一种长期关系，那我就得仔细研究你的转化漏斗，搞清楚我引导观众去的那个地方，到底是不是真的能促成转化。

And if you want that to be more of a relationship, then I need to really look into your conversion funnel and understand how good the place is where I'm sending my audience to, to actually get a conversion.

如果我的工作是讲这个品牌，而且这个内容会一直留在我的频道里，那就是深度整合。

And so if my job is to talk about the brand and that's gonna live in my content forever, it's a baked in integration.

这价值非常高。

That's extremely valuable.

我完全同意你的观点。

I totally agree with you.

但你要怎么应对这种本能的渴望呢？首先，我觉得这里面有一种被认可的需求——作为创作者，品牌愿意跟你合作、从你的内容里赚钱，这本身就是一种肯定。

Now, how to defend against that inherent desire when you're First of all, I think there's an element of validation where it's like, as a creator, the validation comes from a brand wanting to work with you and making money from your content.

如果你刚起步，想把这事做成事业，可能会愿意接受更低的报价，就为了先积累经验。

You might be willing to accept a lower rate if you're just starting out and trying to figure out, trying to make this a thing.

还有一种恐惧，就是如果不接，可能一分钱都拿不到。

There's also fear that the alternative is no money.

没错。

Right.

对吧？

Right?

你明白供需关系，但不是所有创作者都懂这个道理。

Like you understand your supply and demand, but not all creators understand.

很多人会陷入一种心态，觉得这可能是自己好一段时间里最后的机会了。

And many times will find themselves in a situation where they might think this is their last opportunity for a while.

所以我觉得特别重要的是，刚开始的时候，别让频道成为你唯一的经济来源，这样你才有底气说‘不’。

And that's why I think unbelievably important that in the beginning, you aren't tied financially to your channel so that you can say no is really hard.

但要建立一个能说‘不’的机制，我们在《创作者创业营》里做的，就是设定一个品牌合作的最低价格底线。

But to build a mechanism to say no, what we did and what we work on in Creator Startup Pro is building a brand deal floor price.

简单说，就是问自己：我的底线价格是多少？

So basically going, what is my floor price?

也就是说，不管发生什么，我都不会接受比这更低的报价。

Like, what is just the no matter what, I will not go lower than this price?

我觉得这部分其实跟播放量单价或者数据指标关系不大，更多是看你自己的生活方式、个人目标，以及你希望从频道里赚多少钱。

I think a lot of that actually has to do not with CPMs or not with metrics, just based on your own lifestyle and your own desire and your own circumstances of how much money you want to make from your channel.

有时候，你的底线价格会远高于市场行情。

Now, sometimes your floor price is gonna be way higher than your market rate.

这意味着你需要扩大粉丝群，提升内容质量，一步步达到那个水平。

And that means that you need to grow your audience, you need to make your content better, you need to get there.

但我真的认为，你必须有能力拒绝任何低于底线价格的合作。

But I really think you need to be in a position to say no to anything under your floor price.

我们当时为了确保自己不低价出卖，就是提前准备好一套应对材料，这样当收到邮件说‘非常感谢联系我们’的时候，就能从容应对。

How we did this to make sure that we weren't underselling ourselves is actually just develop materials so that when we get that email, Hey, thank you so much for reaching out.

这是我们的提案简报。

Here's our pitch deck.

里面清楚列出了我们的报价。

And that actually has our pricing in it.

这个报价是基于本月制定的。

And that pricing is rooted in this month.

也就是二月的报价。

So this is February pricing.

我们并不固定这个价格。

We're not committed to it.

如果你三月再来，而我们的价格已经上调了，那你就拿这份二月的报价来谈。

If you wanna come back in March, if our rates have gone up, here's our February pricing.

只要亮出价格，就能立刻筛掉不合适的人。

And you immediately weed out people by going, Here's my rate.

很多人觉得这在谈判上反其道而行之，他们会想：干嘛把自己的底牌亮出来？

Now a lot of people think that's counterintuitive from a negotiation perspective because they're like, Why would you show your cards?

你干嘛非得说，跟我们合作要花五千美元？

Why would you go, Hey, it costs $5,000 to work with us.

其实这么做的目的，也是为了让你更专注于内容本身。

Well, a lot of that is just to also keep you focused on the content.

如果你的底线就是五千，那你可以直接说，五千一单，但我们只卖三单一套。

If that's your floor price and you go, Hey, it's $5,000 We sell these in packs of three.

如果你想和《Colin 和 Samir 的节目》合作，那总价就是一万五。

It's a $15,000 buy if you wanna work with The Colin and Samir Show.

明白了。

Okay.

很好。

Great.

简单说，你到底要不要参与？

Basically, are you in or not?

你也可以直接说，这价格对我来说太贵了。

And you can go, that's too expensive for me.

好的。

Okay.

听起来不错。

Sounds good.

没问题。

All good.

或者，其实这样也行。

Or, hey, actually, that works.

太好了。

Great.

搞定。

Boom.

事情就这么定了。

We're done.

事情就是这么办的。

This is how it works.

现在我们可以把它落地，搭建一个系统，这样我就能专心做内容了。

Now we can operationalize it and build a system for it, and I can stay focused on the content.

我觉得谈品牌合作要考虑的事情很多，不只是钱的问题。

So I think there's a lot of considerations when it comes to brand deals, and it's not just money.

还有很多是关于时间、精力，以及能不能真正为观众带来价值。

A lot of it also has to do with time, space, ability to deliver value to your audience.

这个合作伙伴合适吗？

Is this the right partner?

他们是以转化率来衡量成功的吗？

Are they measuring success based on conversions?

品牌合作这一行，需要考虑的因素太多了。

All kinds of considerations when it comes to the world of brand deals.

回到你之前提到的信任问题，还有你和蒂姆那期节目的事。

To go back to your point about trust, and the the reference to your episode with Tim.

我特别喜欢你和蒂姆的那期节目。

I love that episode with Tim.

蒂姆很少接受访谈，所以我一听他的采访就特别兴奋。

Tim very rarely does interviews, so I'm just so excited to listen to them.

我觉得他在你节目里的那期访谈特别独特。

And I thought his interview on your show is one of the more unique ones.

这让我开始思考我们自己的广告合作和运营，因为我意识到，每一次与观众的接触其实都是一种背书。

It got me thinking about our own ad opportunity or ad operations because what I realized was every integration to our audience is an endorsement.

不管我自己是不是觉得这是背书，我都应该把它当成背书来看待。

Whether I think it's an endorsement or not, I should probably think of it as an endorsement.

所以，从品牌合作的角度，我已经大幅收紧了我们业务中的筛选标准——如果对听众来说这本身就是一种背书，那我们何不从这个前提出发？

And so I've really tightened the aperture on what we do across the business from a brand deal perspective because if it's an endorsement to the person receiving it, what if we started with that assumption?

这样一来，我还能多有底气、多真诚地去推荐这些品牌，让结果变成：当杰ay推荐某个品牌时，我知道我完全可以认真对待，也完全信任他。

And how enthusiastically could I then actually, in integrity, endorse these brands and have these outcomes of, okay, when Jay advertises somebody, I know I can take him seriously and trust him on this.

但这样做的代价是，你能接受的合作对象会变得非常少，如果你本身机会就不多，这确实是个难题。

But it really tightens the window of who you accept, which can be a real problem if you don't have a lot of opportunities.

很明显，这有点

Obviously, it's kind

一种

of a

奢侈的烦恼，但我完全同意你的观点，就是别把预算全押在这上面。

luxury problem to have, but I totally agree with your idea of don't hinge your budget on this.

那这就引出一个问题，那我该怎么付账单呢？

But then that kind of begs the question, how do I how do I pay the bills then?

如果我不把预算押在这上面，我又刚起步，收入也不高。

If I can't hinge my budget on it, I'm just getting started and I'm not getting a ton of revenue.

我觉得这是问题的另一面：你能不能找到除了品牌合作和AdSense之外的变现方式？

And I think that's the other side of the equation of can you find means of monetization that are not brand deals, that are not AdSense?

对。

Yeah.

说实话，我觉得我们在起步阶段做过的最重要的事情之一，也是我们在《创作者创业专业课》里会讲到的内容，就是先想清楚我们到底想赚多少钱。

Mean, I think one of the most important things we ever did in the very early stages, and something we go into in Creator Startup Pro as well, is like, look at how much money do we actually want to make.

好的，我们两个人。

Okay, there's two of us.

我们想要赚这么多钱，也必须赚这么多钱。

This is how much money we want to make, how much money we need to make.

好，我们一个月能做多少集呢？

All right, here's how many episodes we can make in a given month.

把这个目标金额除以集数。

Let's divide that amount by these episodes.

假设每集都能赚这么多钱。

Let's say we could make that much money per all of these episodes.

那我们需要做多少集？

How many do we need to make?

我记得刚开始定价格的时候，每单整合大概1200美元，我们算了一下，天啊，一个月得做八单才行。

I remember the first time we ever did that with our rate, which when we were first starting out was probably around $1,200 in integration, we realized, Oh my gosh, we need to make like eight of these a month.

这根本不现实。

That is not realistic.

就算能做八单，也没办法把所有单子都填满。

And even if we could make eight, there's no way we could fill all of those.

这些视频不可能全部都卖出去。

We can't have a 100% fill rate on those videos.

所以，等等，我们得彻底重新想想了。

So, okay, wow, we need to take a major step back.

实际情况是，每个月可能只能卖出去一到两个，对吧？

The reality is we may only fill one to two of those a month, right?

而且我们最多也只能拍四支。

And we can only make four.

这样一来我们就看清楚了，光靠这个根本养不活我们，得另找出路。

So now we're able to look and go, well, clearly this cannot support our lifestyle, so we have to look elsewhere.

于是我们转做起了自由制片公司。

And we did, turn into a bit of like a freelance production company.

这在当时算是权宜之计，对吧？

That was our solution for the time being, right?

所以我觉得，像你所说的，能说‘不’确实是一种奢侈。

And so I think it is a, as you said, it's a luxury to be able to say no.

但我觉得，你得努力守住能说‘不’的这个立场，对吧？

But I think you have to fight to stay in that lane of being able to say no, right?

因为萨米尔总说，你是什么人，取决于你拒绝了什么；如果你能坚持在这个范围内说‘不’，长远来看你会受益。

Because Samir always says this, but like, you are what you say no to, And you will benefit long term if you're able to stay in that pocket and say no.

我觉得科林在我们的视频里提到过，叫什么‘十三年的YouTube经验’之类的。

I think Colin said in our video, it's called like thirteen years of YouTube knowledge and something like that.

四十六分钟。

Forty six minutes.

四十六分钟。

Forty six minutes.

他给新手创作者的第一个建议是：先找份工作。

His advice to new creators, number one was get a job.

找一份跟YouTube无关的工作。

Get a job that's not YouTube.

因为这一点，我真的怎么强调都不为过。

Because just, again, I can't harp on that enough.

给自己一些时间和空间，让YouTube自然发展，这样你才能走得更久。

Giving yourself the time and space to let YouTube develop is going to give you a lot more longevity.

真的就是这样。

It just is.

要是干了一年就焦虑起来，觉得必须得靠这个养活自己，那就不一样了。

Versus getting stressed a year in and being like, I need to be able to support myself.

你会开始做出一些损害信任的决定。

You're gonna start making decisions that are gonna lose trust.

蒂姆·费里斯在节目里也说过这话。

And Tim Ferriss said this on the show.

我们老是提到他。

We keep bringing him up.

他说，信任是一滴一滴积累起来的，却能一桶一桶地丢掉。

But he said, trust is gained in drops and lost in buckets.

我觉得这一点特别重要。

And I think that's an incredibly important thing to do.

所以，你要让自己处于一个能做出正确决策的位置，这些决策要符合你最重要的客户——也就是你的观众——的利益。

And and you wanna put yourself in a in a position to make decisions that are in in line with your number one customer, which is your audience.

对吧？

Right?

你的观众是冲着有价值的产品来的。

Your your audience is there for the product of value.

他们就是你的客户。

They are your customer.

你得根据这些原则，以及你承诺给他们的价值来做决定。

You have to make decisions in line with them and and the value that you promise to provide to them.

你们把周边产品看作是收入来源，还是品牌忠诚度建设的手段呢？

Do you guys look at your merch line as a revenue generator or as a brand loyalty

品牌忠诚度。

move?

对，品牌忠诚度。

Brand loyalty,

是的。

yeah.

后者，但我认为它也有潜力带来收入。

The latter, but I think it could be a revenue.

对，它确实有这个机会。

Yeah, think it has the opportunity to be.

只是我们还没花太多时间和精力去把它做成一个成熟的体系。

We just, have not put a ton of time and energy into operationalizing it.

对吧？

Right?

我们同一个帽子的设计都用了四年了。

Making sure that, you know, we've had the same hat designed for four years.

很明显，这里错失了一个机会。

So clearly, there's like a missed opportunity there.

我们可以请个人来专门负责这件事。

We could have someone who's helping us.

我们做这个决定，是为了打造品牌，让别人一看到就能认出来。

The decision, we did that so that we could build brand, and so that people recognized it as it started to show up.

但很明显，如果有人能花更多时间和精力去做，这完全有可能变成一个赚钱的机会。

But clearly, if we had someone spending more time and energy than us, I think there could be a revenue opportunity.

我真的很希望把它做成更大的事业。

Would absolutely love to make it a bigger thing, for sure.

我觉得这是我们和更多艺术家合作、推出有趣联名商品的好机会。

And I think it's an opportunity for us to collaborate with more artists and do interesting collaborations on the merchandise.

这可是个绝佳的画布。

It's a great canvas.

虽然我们花在商品上的时间不多，但确实花了很多心思在帽子的设计上。

And for how little we have spent time on the merchandise, I think we did spend a lot of time thinking through the hat.

我们对帽子的要求特别高，对颜色的选择也特别讲究——

We were very particular about the hat and very particular about which colors we did and-

还有从一开始打造这个品牌的全过程

And the whole brand of starting it

结束了。

out.

品牌本身。

Brand itself.

但没有什么比看到那么多人戴着这顶帽子更让人欣慰的了。

But there's nothing greater than seeing how many people wear that hat.

对我来说，这才是最酷的事。

To me, that is the coolest thing.

最棒的是，我们发现有人会在Instagram上发帖，说因为对方戴着Press Publisher的帽子，他们交到了朋友。

And the best thing is that we see that people sometimes post on Instagram, they're like, I made a friend because he was wearing a press publisher.

对我来说，这就对了。

To me is like, boom.

这才是真正的社群。

That's community.

这才是我们受众的真实体现，也是我最想为这个世界带来的价值。

That's the real manifestation of our audience and a big service to the world that I would want.

我们公司里让我感到骄傲的一切，都是我十年前特别想拥有的。

Everything that I feel proud of in our business is stuff that I wish I had ten years ago.

所以我觉得，只要有人戴上压印出版的帽子或衣服，别人一眼就能明白，他们属于同一个圈子，分享同样的兴趣。

And so I think knowing that someone can walk up to someone else and immediately have context and know that they're part of the same tribe of stuff that they're into just by wearing a press publish hat or a press publisher.

对我来说，这太棒了。

To me, that's super cool.

这正是我十年前渴望的东西。

And that's what I craved ten years ago.

所以任何——我们

So anything- We

一直都说，我们是凯西·纽斯塔特的超级粉丝，相信很多人都一样。

always said like, we're huge Casey Neistat fans, as I'm sure a lot of people are.

我们总在想，要是有一件衣服印着‘多做点’，风格就像他手臂上的纹身那样，该多好，这样就能表明我们看过他的视频，也是这个社群的一分子。

But we always said we would have loved a a shirt that said do more in the style of the tattoo that he has on his arm, right, to, like, signify that we were watching those vlogs and we were a part of that community.

对我们来说，压印出版的标志、帽子和T恤，说的就是这个意思。

And I for us, the press publish logo, the hats, the shirts, I think that's what that is.

你觉得短视频的发展方向会是怎样的？

What do you think is the evolution of Shorts?

我们注意到观看次数的统计方式正在发生变化。

We see that views are being changed in the way they're counted.

你认为短视频在YouTube上，对创作者来说，扮演着什么角色？

What what do you see as the role Shorts plays in YouTube and for creators?

我发现自己越来越容易陷入选择困难，明明想看长视频，却直接刷起了短视频。

I find myself more and more getting faced with decision paralysis and long form content and jumping straight into the Shorts feed.

我不确定别人是不是也这样。

I don't know if other people are like that.

我甚至都不确定科林是不是也这样。

I actually don't even know if Colin's like that.

但我确实看了很多短视频。

But I watch a ton of Shorts.

我觉得问题不在于短视频最终会走向哪里。

I don't think it's actually the question of where Shorts nets us out.

我觉得问题在于，我们的注意力在长时间内被切割得有多碎。

I think it's the question of how fragmented our attention gets over long periods of time.

我今年三十多岁，但我会聊《人生切割术》和《白莲花度假村》这样的剧。

Because I'm a guy that is mid thirties, but I talked about Severance and White Lotus.

我看《人生切割术》的某些集时，根本坐不住，总忍不住去拿手机，就想赶紧看下一段内容。

I could barely watch some episodes of Severance without reaching for my phone because I need that quick hit of the next piece of content.

我觉得短视频永远都会有它的位置。

I think Shorts will always have a place.

从内容变现的角度看，它们未必是最棒的盈利模式，但确实降低了创作门槛，也更容易吸引注意力。

I don't think they're the greatest monetization mechanism from a content perspective, but I do think they are a lower barrier to entry for content, high opportunity for attention.

但你得特别小心，别光顾着刷播放量，忘了真正打造品牌。

But you just have to be really careful that you're not just building views, that you're actually building a brand.

对。

Yeah.

我觉得YouTube Shorts现在还谈不上像TikTok或Reels那样主导或推动文化潮流。

I don't believe yet that YouTube Shorts specifically dictates or drives culture, like a TikTok or Reels, right?

你可以轻松地把一条TikTok或Reel发给任何人。

Like you can send someone really easily a TikTok or a Reel.

它就像一种对话单位，能帮你和别人建立联系。

It's a unit of conversation to connect you with someone else.

但我觉得Shorts不行，因为YouTube本来就不是个聊天平台。

And I don't find that Shorts, just because YouTube is not a messaging platform.

所以我认为，如果Shorts真想成为文化推手，这会是个巨大的障碍。

So I think that's a huge barrier to, if Shorts is able to really become a culture driver.

我觉得现在它充其量只是额外的数据而已。

I think right now it's just extra data, right?

这些数据或许能吸引观众去点开你的长视频，但我怀疑刷短视频的人根本没打算去看长内容。

That hopefully maybe informs a viewer if they wanna watch your long form, but I'm not sure that people in a short form feed are even really thinking about going long form.

Shorts另一个让人头疼的地方是，我妻子特别喜欢TikTok，她简直把它当搜索引擎用。

What's also really frustrating about Shorts, my wife, loves TikTok, and she uses it like a search engine like crazy.

我们想从好市多买一张沙发。

We wanna go buy this couch from Costco.

她会去找一条专门评测科斯科沙发的TikTok视频。

She's gonna find a specific TikTok reviewing that couch on Costco.

没错。

Totally.

TikTok被封的时候，她在YouTube上根本找不到同样的内容。

When when TikTok was banned, she could not find that same content on YouTube.

对她来说，体验完全不一样。

It was not the same experience for her.

她特别沮丧，这挺讽刺的，毕竟YouTube本来就是个搜索引擎。

She was very frustrated, which is ironic because YouTube is a search engine historically.

对。

Mhmm.

就是完全没法比。

And it's just not the same experience.

说到短视频内容，比如Instagram，我们真不能忽略Instagram。

When it comes to short form content, like Instagram, I don't think we can overlook Instagram.

在美國，Instagram 感覺就像一個主要的文化中心。

Instagram feels like in The US, a major cultural epicenter.

我在 Instagram 上發東西時，別人談到它的頻率，遠高於我在 YouTube 上發內容。

When I post something on Instagram in conversation, it is brought up to me a lot more than if I post something on YouTube.

我覺得這很大程度上是因為 Instagram 已經成了美國的文化操作系統。

And I think a lot of that is just because that is kind of this cultural operating system of The United States.

就像科林提到的，訊息功能是其中一個重要原因。

And I think messaging, like Colin mentioned, is a major reason for that.

很多人在 Instagram 上頻繁發訊息。

People are messaging a lot on Instagram.

人們會在 Instagram 上互相傳遞內容。

People are messaging each other content on Instagram.

我覺得 Instagram 就像一個重要的社交樞紐。

And I think Instagram is this major social hub.

所以如果我從更廣的視角來看短視頻內容，我會把 Instagram 當成首選平台。

And so I actually think if I was zooming out and thinking about short form content, I would think Instagram as my main destination.

别走开。

Don't go anywhere.

马上回来。

We'll be right back.

接下来，请继续收听我和科林、萨米尔的对话。

And now please enjoy the rest of my conversation with Colin and Samir.

那来个吓人的预测吧？

What about a scary prediction?

你觉得可能会发生什么事，要是真发生了，会对创作者生态造成负面影响？

Something that you think might happen, and if it does, that would be a net bad thing for the Creator Space.

我不确定这算不算坏事，但最近我注意到自己在电视上看YouTube的方式有点不一样了。

I don't know if this is a a bad thing, but this is something that I've been noticing very recently with the way that I watch YouTube, specifically on TV.

在主页上，你把鼠标悬停在视频上，它就会自动播放四十秒。

As you're on the homepage, you can hover over a video and it auto plays for forty seconds.

四十秒足够我判断要不要看这个视频了。

Forty seconds is a lot of time for me to understand if I wanna watch that video or not.

我知道这会被算作一次播放，也会加入你的观看记录。

And I know it registers as a view, and it becomes part of your watch history.

但我现在看长视频的次数少多了，因为只要悬停一下，就能大概知道内容，不合适就直接划走。

But I am watching way less longer form videos because I can just hover and see what it's like and then move on.

我知道加洛韦总说YouTube是个‘点击即看’的平台。

I know Galloway always calls YouTube a click and watch platform.

我觉得现在更像‘悬停即钩住’的平台。

I think it's like a hover and hook platform.

对。

Yeah.

随着越来越多的人在电视上看视频，

The more that it's being watched on TVs.

我觉得开头几秒的吸引力现在变得无比关键，因为缩略图的作用可能没那么大了。

I think your hook becomes unbelievably important now that thumbnails maybe become a little bit less important.

我觉得这不过是两端差距越拉越大的趋势在持续加剧。

I think it's just that the dumbbell continues to build and widen the gap between these two ends.

一端是那种电视级别的YouTube内容。

At one end, it's like the TV quality YouTube.

YouTube在智能电视上是最常使用的应用，比如MrBeast、Mark Rober、Dude Perfect、Ryan Trahan这些人。

So, again, YouTube, most watched app on connected TV, MrBeast, Mark Rober, Dude Perfect, Ryan Trahan.

他们的视频时长有三十八分钟，甚至四十分钟，还有二十多分钟的长内容，都是在智能电视上观看的，制作精良、预算高，Michelle Carre和Cleo Abram也属于这一类。

These are thirty eight minutes or, you know, forty minute long piece of content, 22 plus that are watched on connected TV, high budget, high production, Michelle Carre, Cleo Abram in this camp as well.

而在哑铃的另一端，是短视频内容。

And on the other end of the dumbbell, you have short form content.

这些短视频正在平台上被大量观看。

And short form content is being consumed on the platform.

我能明显感受到YouTube目前主要聚焦在这两个方向上。

These are the two major focuses that I can feel from YouTube.

我担心的是，中间的部分正逐渐被忽略。

My concern is that all of the middle gets kind of lost.

那么，中间这部分内容会怎么样呢？

And the question of what happens to the middle?

这些创作者能撑到YouTube下一次升级吗？

Can those creators hold on long enough for kind of the next evolution of YouTube?

这正是我担心的，也是我想问的。

So I think that's my fear and my question.

作为普通观众，我发现我越看越偏向那些特别小众的内容。

I mean, as a just a consumer, I'm finding that I'm watching more and more extremely niche content.

YouTube有个数据说，47%的Z世代喜欢的东西，是他们身边没人喜欢的。

There's a stat from YouTube that 47% of Gen Z are a fan of something that no one they know personally is a fan of.

太有意思了。

Super interesting.

我觉得这种趋势还会继续，YouTube、整个互联网，还有人们的注意力都在越来越碎片化。

I think that is continuing to happen, the hyper fragmentation of YouTube and of the internet and of attention.

但那些中间地带的创作者，有赚钱的模式吗？

But is there a business model for those people in the middle?

我希望答案是有的。

My hope is yes.

我担心钱会流向这两个极端：一边是长视频和高端制作，另一边是能当付费广告用的超短内容。

My fear is that the money will go to either side of those dumbbells.

资金会流向长视频、高质量制作，以及那些能当广告投放的极短内容。

It'll go to long form, high end productions, and extremely short form content that can be used as paid media, and as, like, you know, short form advertising.

我们还从来没聊过流媒体这件事。

One thing we haven't talked about at all is streaming.

对。

Yeah.

你们以前提到过，现场体育赛事是一种在人工智能时代越来越珍贵的真实人类体验。

And you guys have talked about in the past, how live sports are this verifiable human experience that is getting more and more valuable in the age of AI.

我觉得直播也属于这一类。

And it strikes me that live streaming is in that camp as well.

你对直播怎么看？

What's your take on live streaming?

从科林和萨米尔的角度来看，你们觉得直播有意思吗？

Is it interesting to you guys from the Colin and Samir perspective?

因为我知道，历史上很多主播都说过，整个蛋糕就这么大。

Because I know historically, lot of streamers have said, we're kind of the pie is kind of fixed.

如果我们想吸引更多观众，那只能从其他平台抢人。

If we're gonna get more viewers, we're pulling it from other channels.

是的。

Yeah.

想听听你们的看法。

Curious of your perspective.

我们根本不可能有足够的娱乐性去做直播。

We are in no way, shape, or form entertaining enough to to livestream.

这完全不可能做到。

There's just no possible way.

对。

Yeah.

对我来说，直播这件事真的很奇怪。

Livestreaming to me is is bizarre to me.

我偶尔会打开Twitch看看都在播什么。

Like, I'll plug in every once in a while to Twitch and just see what's happening.

有时候一看，居然有七八万人在看。

And there'll be like, you know, seventy, eighty thousand people watching.

上周五我看了一个直播，不是凯本人，但属于凯那个宇宙里的其他角色。

And on Friday, I tuned into a live stream of, it wasn't Kai, but it was like other members in Kai's universe.

我简直是在看一场现场戏剧。

And I was watching basically live action theater.

好几个角色从各自的视角直播，其中一个人准备炸掉一栋房子。

There were multiple characters streaming from their own POVs, and someone was about to, like, blow up a house.

他们俩都在直播，我在旁边看，突然意识到，这不就是WWE吗？

Like, they're both live streaming it, and I'm watching, and I'm realizing, like, this is like WWE.

我不知道他们的编剧会议是什么样子，但这活脱脱就是一场现场版的WWE，十万观众同时盯着两个视角看。

Like, I don't know what these writing meetings look like, but this is basically like WWE happening live, and there's 100,000 people tuning into both angles.

我真不知道该怎么形容，但我觉得特别有意思——这些播客，本质上就跟过去的收音机一样。

And I really, I don't know what to make of it, but I just find it fascinating that like all of these, podcasts are essentially the radio.

长视频平台上的内容，本质上就是电视和流媒体。

Like, long form YouTube is essentially TV and streaming.

而像这种直播形式，就像是现场戏剧在上演。

And then you have live streaming like this, which is live action theater playing out.

真有意思，这些东西以不同的形式又回来了。

It's just so interesting that these things are coming back in different forms.

是的。

Yeah.

这让我想起以前放学回家，随便打开MTV，它就一直在播。

It it reminds me so much of just, like, deciding to like, the ease of turning on MTV when you came home from school, and it's just on.

播什么就是什么，根本没法挑。

And whatever's on is on.

一会儿是TRL，一会儿是《房间搜查》，反正啥都有。

It's TRL, and then it's Room Raiders or whatever.

然后突然就切到现实世界了。

And then it's the real world.

你就只是，嗯，随它去吧。

And you're just like, yeah.

挺好的。

Cool.

我最近一直看这个频道。

I'm just, like, with this channel for a while.

我觉得直播正好填补了我之前说的那种选择困难，它让我有个伴儿陪着，挺舒服的。

And I actually think live streaming occupies some of that where the decision paralysis I talked about, I think it gives me a nice place to just have a companion.

我觉得陪伴式观看特别重要。

And I think companion viewing is a big deal

现在就是这样。

right now.

很多人吃饭的时候，你几乎找不到一个独自吃午饭却不拿手机的人，对吧？

And it's something that a lot of people like, You'd be hard pressed to find someone having lunch by themselves without a phone in their hand, right?

一点可能都没有。

No chance.

这早就不是过去的事了。

That's just not a thing of the past.

你不会再那样做了。

You're not gonna do that.

我觉得直播之所以有陪伴感，就是因为人们只是想有个声音或画面陪着。

And I think live streaming occupies that companion nature of like, I just want something on.

对我而言，YouTube 也是走的这条路。

Even for me, YouTube exists in that lane.

当我打开电视上的 YouTube 时，只有两种状态。

When I turn on YouTube on my TV, I'm only in two modes.

要么是边做别的事当背景音放着，要么就是专心找东西，认真盯着屏幕看。

It's either background viewing while I'm doing something else or intently looking for something to actually look at the screen.

但我觉得直播主让我们看到，文化影响力来自于长时间的陪伴。

But I think live streamers have shown us that cultural relevance comes from time spent.

播客也是这样，两三个小时的长节目，才能在长时间积累中形成文化影响力。

I think podcasting is the same way, two, three hour long podcast, that creates cultural relevance over long periods of time.

凯·西纳特，我常看Speed。

Kai Sinat, I show Speed.

这些创作者让你几乎每天都能看，如果你每天花八个小时的话。

These creators are like, you have the opportunity to watch them almost every day if you're like eight hours a day.

所以你能花在他们身上的时间非常多。

So the opportunity for time spent is very high.

这会建立起非常深厚的关系，进而带来巨大的文化影响力。

That creates deep, deep, deep relationships, which then creates a lot of cultural relevance.

我觉得，这又回到了短视频的问题上。

And I think, again, that comes back to the question of short form.

短视频能有同样的文化影响力吗？还是说TikTok本身就具有文化影响力？

Can short form have the same cultural relevance or is TikTok culturally relevant?

因为你花在TikTok上的时间真的很多。

Because you're spending a ton of time on TikTok.

我觉得这一点挺有意思的。

So I think that's an interesting thing.

回到刚才的问题，我们会做直播吗？

Back to the question, would we ever livestream?

我们确实会做直播问答。

We do live Q and As.

我们也会做教育类直播，特别有意思。

We do educational lives, which is really fun.

我们以前办过教育课程，全程都是直播的。

We've done cohorts for our education where we are live.

特别有趣。

Super fun.

但我很清楚直播的价值在哪里。

But I understand the value exchange of that live really well.

但我搞不懂，当几十万甚至上百万人在看，只说‘逗我开心’的时候，这价值在哪？

I don't understand the value exchange when a million or a 100,000 people are watching and being like, entertain me.

明白了。

Alright.

最后一个问题是。

Actual last question.

有葡萄吗？

Any grapes?

多得是呢，杰伊。

So many, Jay.

一直都有很多。

There's so many all the time.

让我想想，我刚吃过一个特别好的。

Let me think because I just had a really good one.

对。

Yeah.

我觉得，男生之间的握手挺有讲究的。

I I would say, like, handshakes between guys in general.

天哪。

Oh my gosh.

就是因为没什么特别的

Just because there's

没角度可言。

no angle.

我是不是在往下沉？

Am I going down?

我们有这么多选择，却还得靠猜对方的心思，决定该用哪种握手方式，这简直太荒谬了。

Options available to us, and somehow we're supposed to read each other's mind and just figure out, like, what type of handshake we're gonna do, I just think it's preposterous.

确实很棒。

Big time great.

我觉得你得主动一点。

Well, I think you have to lead.

关键是，要缓解这种紧张感，

Like, the thing, to quell that anxiety,

我确实会主动，但之后我就觉得，那样做不像我。

you I do lead, but then I just I don't go like that's not me.

我就直接上，主动带头。

I just go with just go And lead.

我就直接伸手去握手。

I just go handshake.

我就说，嘿。

Was like, hey.

你好吗？

How are you?

是的。

Yeah.

问题是咱们两个人都在。

The issue is there's two of us.

所以很多时候我们得在握手这件事上配合默契，但我尽量每次都主动先伸手。

So we have to be in sync a lot of times with these handshakes, but I I try and go first as much as possible.

所以嘛。

So yeah.

是的。

Yeah.

但我真希望我们能干脆点，当初疫情期间，大家都说要淘汰握手了，我还以为真能呢。

But I wish we could just you know, I thought during COVID, we're like people were like, oh, we're getting rid of the handshake.

我当时就想，行吧。

And I was like, ah, alright.

挺好。

Like, good.

这

Like, this

真不错。

is great.

我手机里还记着一堆不满呢。

I have a gripes note in my iPhones.

让我看看我都记了些什么。

Let me see what I have.

你有吗，杰伊？

Do you have one, Jay?

好的。

Okay.

天哪。

Oh, man.

我本该为此做点准备的。

I should have prepared for this.

这是我的问题。

It is my question.

我有几个想说的，可能之前在节目里提过，但我还是再讲几个，看看有没有哪个能引起你的共鸣。

I I I have a couple that I think I've already said on the show, but I will I'll say a couple of them to see if you any of them resonate with you.

我最大的抱怨大概是，你去咖啡店点单说："来杯卡布奇诺。"

Let's Probably my number one gripe in the world is when you go to a coffee shop and you say, can I have a cappuccino?

对方回答："好的。"

And they go, yeah.

要什么尺寸？

What size?

浓缩咖啡就一种尺寸，杰伊。

Cappuccino is one size, Jay.

就一种尺寸。

It's one size.

这是浓缩咖啡。

It's a cappuccino.

三分之一、三分之一、三分之一。

It's a third, a third, a third.

本来就只有一种尺寸。

There's only one size.

别问我浓缩咖啡要什么尺寸。

Do not ask me what size I want for my cappuccino.

正好八盎司。

It's eight ounces.

好吧。

Alright.

另一个是恐怖片预告片插在非恐怖片前面。

The other is a horror movie trailer before a non horror movie.

如果我进电影院是来看浪漫喜剧或者冒险片的，就别给我放《驱魔人》的预告片。

If I've gone into a movie theater to see a romantic comedy or like an adventure film, do not show me a trailer for The Exorcist.

我的预期可不是来被吓一跳的。

My context is not that I'm here to be freaked out.

我不想看到鬼魂满屋子吐东西。

I don't wanna see a ghost throwing up all over someone.

我进这个影厅的时候，根本不是想看这个。

That's not what I wanted when I walked in this room.

我以前也说过一次，但刚才突然想起来了。

I've said this one before too, but it just came to mind.

有时候广告是拍给横屏看的，却硬加个竖屏边框，假装是抖音上的视频，其实制作精良，明显花了几十万美元，还故意剪成好像真是谁随手拍的抖音内容。

When there is an ad that plays on a horizontal screen, but they've put like a fake vertical frame to make it seem like it's on TikTok, but it's really high production and still you can tell it was like a multi $100,000 ad, but they've cut it to look like it happens to be someone with a tick like, on TikTok.