“Beep word fast” either platform implementations of the master movie theaters, perhaps in the next year or two
Editor’s note: This article is from the micro-channel public number “movie Intelligence Service” (ID: dianyingqingbaochu), Author: Small Paul.
On the morning of March 29th, Station B was officially listed on the Hong Kong Stock Exchange. The opening price broke 790 Hong Kong dollars per share, and a total of 25 million shares were issued. The net fundraising amount was approximately 19.87 billion Hong Kong dollars.
Station B is not the only new video platform that seeks to go public to raise funds to grow its business. In February of this year, Kuaishou was listed on the Hong Kong Stock Exchange and became the “first short video stock.” At the same time, news that ByteDance (China business) will be listed in Shanghai or Hong Kong are also frequent.
It can be seen that these three new video platforms all have large commercial ambitions. Judging by their recent dynamics, the development of long videos is one of the important means to realize these commercial ambitions. Looking at the involvement of these new video platforms in various long video fields such as the movie drama series, the waves they have caused in the film and television field are even more controversial.
Nowadays, the movie and drama resources of station B have become more abundant, and byte-based video platforms (Tik Tok, Watermelon Video) and Kuaishou play more and more important roles in the field of movie marketing. “The days of mastering theater-line movies are already within sight and within reach.
▲Station B is connected to the Hong Kong Stock Exchange and listed in Shanghai by ringing the bell
Enter the field of film and television, step by step
From 2018, which is known as the “first year of short video”, to 2020, when new video platforms are aggressively entering long video content. In the past three years, “Beep Words Fast” is making progress step by step. Entered into the field of film and television.
However, from the perspectives of film and television cooperation and content creation, the three companies have different “entry characteristics”.
First of all, because of its deep accumulation of animation works and a highly viscous platform community culture, Station B is the first to transfer the burden of self-made content to the animation field, and it also supplements the resources of movies and TV dramas, and has a relationship with Discovery, including the American Discovery Channel. Among the well-known documentary producers have reached a cooperation. Since its “National Innovation Zone” was established in December 2018, Station B has continuously emphasized “Made by Bilibili” to deepen the outside world’s awareness and recognition of its own self-made content level.Moreover, new movie distribution and movie production have been added. In addition, Kuaishou has also set up a special film and television section, and you can enter the “Cinema Hall” by searching for accounts such as “Kai Shou Film and Television” and “Kai Shou Screening Hall”.
However, unlike Station B and ByteDance, the works of Kuaishou “Touch Shadow” have gradually changed from short to long, and from few to more.
In 2019, Kuaishou and Ergeng jointly launched the documentary film “New Left-behind Youth”, each episode is 6-8 minutes. At the same time, the film and television creators in Kuaishou continue to launch self-made low-cost movies or short dramas, which are realized at a fee. In May 2020, Kuaishou became the co-producer of the theater movie “Empty Nest”. In September, Kuaishou and Kuaigou Taxi jointly announced a 50-minute truck driver documentary. The movie “He’s My Brother”; this film was also shown in small theaters.
Although both “Empty Nest” and “He’s My Brother” have no Douban ratings for the time being, and the number of movie viewers is also very few, they are all useful experiences in the fast-moving movie theaters. In addition, from 2021 to the present, Kuaishou seems to be taking advantage of the opportunity of making micro-films to steadily improve its production capabilities.
Investment layout of real money
The “touching” of “Beep Words Kuai” is not a trivial matter, but a real investment layout of money and silver.
According to the statistics of Intelligence Monarch, from 2018 to 2020, “Beezikuai” has public investment events related to the field of film and television. The amount of single investment ranges from tens of millions to hundreds of millions, and the number of investments has shown an overall upward trend year by year. Among them, Station B’s strategic investment in Huanxi Media reached 513 million Hong Kong dollars on August 31, 2020.
Looking further, if strategic cooperation is also regarded as an investment, the investment layout of the film and television industry of “Beep” does not only focus on film and television production companies; from the upstream animation resource platforms, online literature reading platforms, and artists Brokerage companies, animation, film and television production companies in the midstream, to downstream film and television advertising and distribution companies, “Beep Words Kuai” has a layout.
However, the film and television development and investment ideas of the three “Beep Words” are not the same.
First of all, it is difficult to define according to the length of the output videoAccording to COO Li Ni’s review of “The Sky of the Wind Dog”, Station B has always been a community that combines long, medium and short videos. The live action movie and TV show are in response to the production of the agency. Video (OGV) + professional individual user-made video (PUGV) ecological user needs.
Secondly, ByteDance is more like “the drunkard is not in the wine”. The layout of film and television content is only one part of the development of the enterprise. In the end, it wants to realize new Internet innovation. Mr. Intelligence believes that this can be corroborated from at least three aspects. First, Bytedance is constantly adjusting the ownership of its movie and drama resources: before the epidemic, its long video content was distributed by Watermelon Video, but it was later put on TikTok, which is more monthly. Second, ByteDance is constantly exploring the development of various video content. For example, Watermelon Video has spared no effort to dig up the host of B station UP. Third, ByteDance’s mode of action is more “wolflike” than Station B and Kuaishou. As soon as it took action, it became a precedent for the domestic movie “theatre network”, and it was even considered by many to be subverting the theater line. .
Finally, Kuaishou should put more energy on controlling content costs and realizing the realization of film and television content. With the lessons learned from the long-term loss of “U-Aiteng” in the long-term video field, Kuaishou did not go ahead as soon as it came up. Instead, it has accumulated experience back and forth between self-made micro-drama and micro-films, professionally produced films by users, and other types of long videos, and racked their brains. Think about how to monetize content.
For example, the theater movie “Empty Nest”, which is produced by Kuaishou and is exclusively launched in Kuaishou, is a small-scale film with a low production cost. As for the exploration of the realization of film and television content, the paid short dramas and micro movies in Kuaishou are blooming everywhere. It’s like the solo short drama “This Male Lead Is A Little Cold” recently called by netizens as “the hero is a bit cold”. The episode only lasts about one to two minutes, but it has over 680 million video views. Many people pay to watch the finale in advance.
▲The movie “Empty Nest” released on May 10, 2020
Maintaining theater-line movies, maybe within a year or two
It is concluded from this that, as a new video platform, “Beep Word Kuai” has accumulated experience and resources in controlling theater-line movies in the past three years. Under the circumstances that this trend is obvious and the momentum is good, the intelligence monarch speculates that any platform of “Beep Word Kuai” will realize the main control of cinema movies, perhaps in the next year or two.. At the same time, referring to the successful experience of Disney+, it is not ruled out that these platforms will greatly reduce the window period of movie network launches when they are masters of movie projects.
From the perspective of the development pace of “Beep Word Kuai” in the field of film and television, this should be a matter of course. On top of this, the intelligence king speculates that the movie mastering directions of these three new video platforms will be guided by the situation and have their own targets.
For example, Station B should be more confident in mastering animated films or documentary films. From the premiere of the Japanese topical animated film “Your Name” to the purchase of “Nezha: The Devil Child Comes into the World”, today Station B has become the preferred online broadcasting platform for animated movies, and its close relationship with animated movies has also taken root. In the minds of few viewers (especially anime enthusiasts). In addition, in recent years, Station B has also participated in the introduction of Japanese animation projects such as the “Fate Night-Sky Cup” series, “Demon Slayer” and other Japanese animation projects, and has begun to accumulate experience in the master-produced domestic animation movies. On the other hand, as early as 2016, the film of the same name derived from the CCTV documentary “I repaired cultural relics in the Forbidden City” was “out of the circle” through Station B. Since then, Station B has not only become one of the producers of this documentary film. First, it has continued to increase the procurement and production of documentary content.
▲”I Repair Cultural Relics in the Forbidden City” movie poster
And ByteDance may directly participate in the project of a medium-sized professional film production team as the master. At the same time, it has benefited from the repeated marketing success of many urban emotional movies through Douyin. It will also tilt towards urban emotional themes in future master movie projects. For example, last year’s “I’m Waiting for You at the End of Time” and “If the Voice Doesn’t Remember” and other films have achieved extremely high pre-screening popularity and pre-sale performance through Douyin marketing, thus achieving a box office breakthrough.
As for Kuaishou, the intelligence man believes that it will work hard on grass-roots themes that are close to people’s lives. One is because the huge monthly activity actually shows that Kuaishou has a huge grass-roots foundation, and the other is because Kuaishou is producing or producing film and television content. The exploration on the site is also very grounded. At present, the self-made films “New Left-behind Youth”, “Empty Nest”, and “He is My Brother” that have been launched by Kuaishou all fall into this category, and the profitability of these films is also very gratifying.
Nevertheless, master control is no simpler than participating in investment, production, or distribution. For station B, whether the relatively fixed and highly viscous Z+ generation can buy the “Made by Bilibili” theater movie is still a question. For Douyin Kuaishou, who is in the film marketing field, whether it can accurately convert product ideas is also a challenge. After all, in the field of film and television creation, word-of-mouth quality is greater than data algorithms.