Video site into the theater - another big game?


In late March of this year, 100,000 jokes that were adapted from popular anime movies have only just become the first “black box office” since the beginning of the year. Another similarly originated from the same name “Internet drama” never expected to be big. The movie also began to have a look - the producer Youku announced that the film was the director of the series "Beast Yi Xiaoxing" as the director, the old famous leader Huang Jianxin supervised the production, as its escort.

With the advent of BAT (Baidu, Alibaba, Tencent's three Internet giants) in the film industry, the relationship between the Internet and the film industry has also become an eye-catching focus in the past two years. Some people even asserted: "Future movie companies will work for BAT. "(President of Poly Bona, Yu Dongyu). Whether or not the filmmakers panicked or dissatisfied, they still do not see the possibility that these Internet giants have completely subverted the film industry. It is the video site, a sentinel of the Internet world, and an important base for “net nerd” to “hook” the film industry. The action is more clear and intuitive, but also allows us to see more possibilities for the future communization of the Internet and movies.


Incubation IP: Internet drama is re-adapted into movies

From the online drama to the big movie, the 100,000 joke and the unthinkable embodiment are thoroughly embodied in the “Ode to Man's Aesthetics” - irrelevant plots, unobtrusive characters, intensive tutor lines, and even two works. The protagonists Zhong Bao Zhong Yang (Song Ming) and Bai Bai (Luo Hongming) are both from the same dubbing group, the famous cucn201. The dubbing group was in the midst of this year's "Japanese and Japanese series" dubbing of fame. Today, we can still clearly feel the seizure of "Japanese and Japanese sequelae" in these two domestically produced online dramas.

This funny and grounded style won the favor of otaku - 100,000 joke in the first quarter of a single set of more than 90 million clicks, the cumulative viewing amount reached 1.7 billion; never expected three quarters of the cumulative total of 20 broadcasts Billion, hot hits have laid a solid audience base for the big movie. From this perspective, it is not surprising that 100,000 joke breaks the “60 million ceilings” and the box office is easily over 100 million.

At the same time, the marketing methods of 100,000 joke movies are also quite Internet spirit: Clearly positioning, controlling costs, giving up outdoor hard and wide, and doing precision marketing. The marketing and publicity of this film only cost 2.87 million, but due to Sina, Xiaomi, Che Guevara, Lan Hong Kong Interactive, Wanda Information, iqiyi six joint product providers in the provision of portal resources, Weibo resources, ticketing activities, hands With the support of travel development and other aspects, the marketing resources of the film have actually surpassed 200 million yuan, and it has to be said that it is a super investment in “cost-effectiveness”.

In addition, the high popularity of video sites cultivated by IP may also be developed into a big movie by the film and television companies, such as the rush of that year and why they are silent. Using the cumulative attention of the work on the video site, replacing the main actor with a popular star, this approach is significantly less risky than directly shooting a brand new original script.

What's more, from a long-term point of view, such an approach will help build a cross-media industry chain based on high-quality IP and make the cake bigger: Alibaba, for example, will soon establish “Ali Literature” that is implicated in online literature. Tencent is about to develop its own popular game as The big movies are all "long-line fishing." Just because the battle line is lengthened, huge investments may not necessarily receive returns of equal value in the short term, so this practice is currently only applicable to industry giants with a certain size.


Into the upstream: directly into the producer, let the movie into life

Compared to the fermented IP, the website is more adventurous than direct investment in big movies: For example, LeTV's participation in the production of Legend Films, Universal Pictures and China Films is jointly produced by Zhang Yimou's Great Wall of China-America science fiction film; The industry joined the American movie SpongeBob and Need for Speed ​​2 by way of investment.

The "master micro film" program that Youku has continued since 2012 is a demonstration of the ambition of video sites to bring filmmakers to the Internet. In fact, the definition of "microfilm" is still controversial. The concept of "small screen production" is not attractive either. However, when Youku clung tightly to Gu Changwei, Xu Anhua, Cai Mingliang, Jiang Digui, Hei Zeqing, Zhang Yuting and many other “big coffee” directors’ thighs, the basis for “microfilming” seems to be much more adequate, and the appearance of movies in the online world seems to be quite numerous. A possibility.

In addition, on the first day of the opening of the Hong Kong International Film Festival, director Wang Jing and iQiyi’s strategic cooperation news was announced. The two sides announced that they will collaborate on six films and adopt a new model that will be released simultaneously in the cinema and the internet. This approach is undoubtedly a deconstruction of the traditional theater distribution model, but also shows the tilt of the film to the Internet.

The concept of "multi-screen movie" recently put forward by Heyin Yingye (when the movie is issued in full coverage of PC, mobile phone, Pad, TV, aviation, high-speed rail, bus, subway, and outdoor nine screen channels) is more boldly to take the movie out of the theater To bring life. This is not just the deconstruction of the "traditional distribution" model, but the deconstruction of the "issuing" itself.


Responsibility: "Internet thinking" dominates movie creation?

Although the Internet world is continuously throwing out one after another attractive film projects, the interests and starting points of many projects are also very commendable: for example, accumulating potential IP, training industry talents, promoting media integration, exploring business models ... but for ordinary As far as the audience is concerned, I am afraid that the movie is not good or bad is the most important thing.

Regrettably, dramas derived from dramas such as those in the rush have exceeded the 588 million at the box office, but their word-of-mouth is extremely dissonant with the box office; 100,000 cold jokes have created miracles at domestic box-office animation The production of stories or productions is difficult to get rid of the atmosphere of small workshops that are not on the countertop; even if it is the "master micro-movie" series that flaunts B, in spite of the increase in traffic over the past four years, word of mouth is only maintained at the mid-stream level.

Under the appearance of prosperity, the quality of the film works at the present stage has not been promoted in the true sense. The works have been "hijacked" by the Internet thinking to some extent, and they have become a machine for making money or speculating. From a long-term point of view, this secondary issue is not a good thing for the coexistence of Internet thinking and film art.

On the other hand, in the current mainland movie market, the hot IPs that have the potential to be adapted into big movies are limited to comedy, romance, and youth films. The types are very simple. The long-term confined to these topics can easily cause the viewer's aesthetic fatigue, leading to the market's weakness and shrinking. Therefore, the incubation of diversified potential IP and the development of a diversified market are still major issues.

In addition, the film industry includes many links such as production, announcement, theater, and cinema. It is a complete and complex industrial chain. The network video environment is relatively simple, and the click rate of hundreds of thousands or even hundreds of millions can not be converted to the box office. Things worthy of scrutiny. On the one hand, because of the low cost of network resources, on the other hand, the viewers of the online video have a strong “attribute”, and they are not necessarily willing to enter the cinema to watch the big screen movie. Therefore, at this stage, they cannot blindly succeed through only a few cases. Optimistically replicating the experience, the video website and the Internet industry behind it still have a long way to go if they really stand still in the movie industry.

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