作為網路視音訊領域規格最高、規模最大、具有“年度風向標”之譽的行業盛會，第十二屆中國網路視聽大會於3月27日至29日在成都舉辦。作為本次行業大會的深度合作媒體，《每日經濟新聞》記者在大會現場觀察到，短劇是本屆大會的熱門話題之一，大會多個論壇都涉及短劇相關內容。
Yang Zheng, deputy director of the Network Audiovisual Program Management Department of the State Administration of Radio and Television, Luo Jianhui, vice president of the China Network Audiovisual Association, Guo Jingyu, chairman of Changxin Media, and other guests from different fields such as competent departments, industry associations, enterprises, and creation all discussed the short play. Gong Yu, founder and CEO of iQIYI, also talked about the journey from long videos to short videos to micro-short dramas, and talked about iQIYI's actions in the field of micro-short dramas.
At the "Boutique Micro-short Drama Creation Forum", Yang Zheng used a set of data to reveal the explosiveness of the industry: "The scale of micro-short drama users reached 50 million in 0 years, reaching this number, it took 0 years for online takeaway, 0 years for online car-hailing, and less than 0 years for micro-short dramas. ”
Yang Zheng, deputy director of the Network Audiovisual Program Management Department of the State Administration of Radio and Television
Behind this report card, it shows that micro-short dramas have gradually moved from the initial barbaric growth to today's intensive cultivation stage, and the current micro-short dramas have set off an industrial revolution, and it has become the consensus of the industry to be more professional, more vertical, and create a series of IPs. As Luo Jianhui said: "Although the micro-short drama is 'micro', the pattern cannot be small; although it is 'short', the pursuit must be high." ”
"Let last year's top content become this year's standard content." On the track of micro-short drama content creation, the pursuit of high-quality has become an industry consensus, and intention and innovation are the core driving forces of this competition. Yang Haitao, senior vice president of iQIYI, said that in the early days, micro-short dramas were affected by the single point payment (IAP) model, and there was a problem of "heavy coolness and light logic". "As the membership model and the free model have increasingly become the main modes of micro-(short) drama broadcasting, users are more relaxed in the viewing scene, so micro-(short) dramas must return to the essence of content creation."
Yang Haitao, senior vice president of iQIYI
楊海濤以《帝凰業》為例，這部融合宮廷鬥爭與女性成長的微短劇作品，憑藉深刻的人物刻畫和跌宕起伏的劇情，上線即登頂愛奇藝熱播榜，抖音相關話題量破千萬，成為愛奇藝春節檔最火爆的劇集之一，充分驗證了精品化路線的市場潛力。
Yu Ke, head of content operation of Baidu Baijiahao, said bluntly that although the underlying consumption logic of micro-short drama users is real-time impulse and instant gratification, the platform should find the greatest common divisor of group consciousness from this coolness and sublimate and innovate. "Blindly refreshing is not advisable, we need continuous innovation and breakthroughs in content to bring another breakthrough in the quality of the entire industry."
In Yu Ke's view, the micro-short drama industry has moved from the stage of production of "volume" content and not "volume" to a new stage of "volume" and "volume" innovation. "Homogeneous content will eventually only be reduced to sand in the big waves, and good ideas and new innovations can become the new kings."
Another noteworthy phenomenon is that with the development of high-quality micro-short dramas, the audience has already broken through the circle, and customized dramas for specific circles and specific scenes have become a new development direction.
According to the data released by iQIYI, 51-0 minute horizontal screen short dramas mainly attract post-0 and post-0 women, and the proportion of users in high-tier cities is relatively high. "For them, watching skits is mostly out of 'emotional needs' or to obtain 'social conversations', which is a semi-independent electronic mustard. They were able to read it on their commute to work and at lunch. Zhang Xiaomei, general manager of iQiyi Film and Television Literature R&D Center, said. The 0-0 minute vertical screen micro-drama is mainly in the sinking market. Young and middle-aged people aged 0-0 and silver-haired people over 0 years old are the mainstay. "The space is relatively independent and private, which can bring emotional storms, and is more suitable for passing the time and watching before bedtime."
With the stratification of users, micro-short dramas have also become more vertically segmented on the production side. Yang Haitao emphasized that micro-short dramas should create three-dimensional and plump characters, avoid flattening characters, and deeply explore the character characteristics, growth background and inner world of the characters, so that the characters have a multifaceted and layered sense.
In terms of industrial integration, micro-short dramas are showing strong potential. Yang Zheng made it clear: "Micro-short dramas are evolving from a content form to a super interface for industrial connection. ”
據介紹，2024年，“跟著微短劇去旅行”專案作品播放量超過60億。微短劇與文旅、品牌的融合成效顯著，如《我的歸途有風》以四川樂山非遺美食為文化背景，成功帶動當地旅遊；《我和女兒做同桌》在去年“618”期間播放量達到7.4億次，實現品牌破圈傳播；《心願照相館》聚焦四川官塘非遺村，單集播放量突破2000萬。
Zhang Xiaomei, general manager of iQIYI Film and Television Literature R&D Center
At the same time, the development of micro-short dramas has also brought new opportunities to practitioners. Guo Jingyu, chairman of Changxin Media, sighed: "Long dramas will have restrictions on people like me who are not from professional classes, and short dramas can still give me a chance as a 50-year-old person today, we have to thank short dramas." He revealed that the long drama IP "Tang Dynasty Strange Stories" produced by Changxin Media will launch a short drama version, "The short drama must put the production quality and creative rights in the hands of the industry, and try to cultivate its own IP in the film and television industry."
早期，微短劇劇本多來自番茄小說改編，但隨著長視頻平臺和傳統影視公司的加入，微短劇產業能力提升，長劇經典IP改編為微短劇已經成為微短劇發展的新方向。去年，華策影視出品的熱門言情劇《去有風的地方》衍生微短劇《我的歸途有風》，專輯總播放量2億。據悉，《還珠格格》也將被改編成微短劇《還珠》。愛奇藝則推出“百部港片微劇計劃”，號召創作者對港片經典進行改編。
"Short dramas have a short time and low cost, which can quickly achieve content innovation, achieve IP incubation, and accumulate a certain number of fans and audiences." Li Li, general manager of iQIYI Drama Center, said that the creation of a series of IPs has become the current consensus of the industry. "Because it is very difficult to create a work, once we have created a successful work, we still have to do it on the basis of the original success, which is a key point for us to choose a project."
然而，在行業中，同質化瓶頸尚未破解，同一IP被大批量改編成微短劇的現象屢見不鮮。對此，歡樂時光影業劇集工作室總經理姚夢西認為，要突破這一困境，需要從業者從網文走出來，敢於創新。比如，針對其與愛奇藝合作的微短劇專案“百部港片微劇計劃”，在內容上，姚夢西表示不會簡單翻拍，而是“新酒裝老瓶”。
"We have communicated with many creators, and they often propose to remake classic stories such as Bruce Lee into short dramas as they are, but we are not willing to destroy the classics in the hearts of the audience." She said frankly that the team is more inclined to retain the original feelings of Hong Kong films, and at the same time give them new vitality. "In the past, micro-dramas were a sense of coolness, but now the sense of coolness can only be used as an element inside, and the real hit dramas are brave innovations."
在投資方面，投資800萬元級別的微短劇已經出現。郭靖宇呼籲資本和藝術創作者關注並看好微短劇。他認為，從產業角度看，長短內容並不衝突，“微短劇承載行業突破的夢想，也承載很多年輕人進入行業、走向文化事業的夢想，它需要有機會，也有望成為主流產品”。
Image source: Courtesy of the organizer
National Business Daily