“At 80,000 a day, I can’t stand it!” One of the producers, in a book’s passions, had many colleagues in a moment.
There’s also a lot of people who have spoken for the short play, and they’re talking about seven digits. It makes me wonder:Is that a refusal, or is it true?
There is a lot of speculation that this man is Ko Jun. But only five months ago, he was exposed to $20,000 a day in ensembles.
In addition to this, the recent shortage of “Daddy-in-Chief” “mother” in the Yakuza has come to the news with a daily salary of up to $3,000-$5,000.
Over time, there has been a sustained increase in interest in the remuneration of short-time actors, both within and outside the industry.
In fact, the daily price is not an exception, as Seo-Cheun was exposed to a daily salary of 80,000, and the Din has stabilized at around 40,000. The quotes have been refreshed, and many practitioners have said: “The short country is really going to change!”
In the meantime,Different companies are also signing in their own way:
Some are convinced that short play can grow into an independent industry and go into deep cultivation; others see it only as a springboard leading to ensembles, long operas and films; and others migrate from short video ecology only to the point of no absence.
On 4 September, after many rounds of market hearsay, the official official official announced the “Activists’ Partnership Programme” to secure competitive splits and large-scale cooperative resources, involving actors and relevant institutions and short-time producers.
On the mangrove platform, a number of actors, institutions and producers show that they are “resident”.
The behaviour of red fruit is interpreted within industry as an attempt to reduce industry uncertainty by standardizing and digitizing core production factors (actors), and ultimately to consolidate and expand its platform voice.
So, how much is a short play actor worth? How much should it be? How should their commercial value be measured?
It has been argued that an explosion can increase the daily pay of new entrants tenfold; it has also been maintained that actors are only added value, and that it is the script and rhythm that really determine the success or failure of the short play.
“The short play is really too short a cycle.” “You were on fire last month, and there may be no one looking for you next month.”
In such an environment, the signing, nurturing and building of stars — which would have been years or even decades — have been reduced to months.
The short play is not an accident; it is driven by a combination of platforms, producers, brokers and MCN agencies.
Who signs? What kind of people? How do we plan and build impact? How do you revalue the short play? Is it up to the market to decide? It’s a matter for the industry.
Who’s replicating the “Suh Ye-jin”?
Recently, a number of institutions have released information on the integration of actor resources.
Among other things, the mastering of the “Small Stars” programme is open to actors in the middle and the North Shadows, and candidates have access to multi-dimensional support for in-depth participation in priority IP projects;
The Microdramatic Cooperation Programme, which was fully upgraded on 12 September, explicitly added the Actors’ StarLog Programme and committed itself to providing “five Microdramestic Cooperation Floors + Long Content Development Channels”.
Not only are the platforms involved in the integration of actors ‘ resources, the whole industry is focusing on the value of actors as factors of production.
In fact, since the first half of 2023, short opera producers have seen changes in wind direction.
“Suh Ye-jin’s scenes are going on so fast. And then we knew that it was possible to commercialize an actor, and we increased the layout. It was only later that some companies reacted to the need for the signer to control the cost, which was a little late.”
It appears that the early use of the production contract will solve the problem, but the company will soon lose its initiative if it does not have a broker contract.
The founders of the ancient entertainment industry Zhang Zhang Zhang Zhang Zhui divided the industry into three categories:
One is MCN ‘ s added value, which uses short play as an extension of short-time video-tape broker; the other is the production company, which uses contracted actors to reduce costs, which is a cost-accounting logic; and the other is the traditional video and video company, which uses short-time plays as a new man ‘ s training ground.
“But the borders are becoming increasingly blurred, with some of the long-time actors being signed by the short-time and MCN companies, and some of the video companies accelerating the distribution of short-time plays.”
For example, the Maitre Media Officer recently signed a contract with traditional film casts Chiang Man-chung, Ro Chon and others, as well as with short-time performers Liu Pi, Teng Zewen, Wang Woo Wai, etc., while the Som and the short-time studios under one heart signed a contract with Mah-won, while the Flying Bo media, with their shares, signed Wang Kai-hu, and the Yao Qi Yong-woo, with his new “Fashion One Brother”, was signed by the Tang.
The village chief is the head of the actor-brokering service in Guangzhou, and his parent company, which was previously a broker-contracting artist, has a billion-grade fan base.
The village chief told the short play self-study office, “Our company has been setting up short play brokers since this year. Currently, the number of actors is over 100, 20 per cent are short video people and 80 per cent are externally recruited professional actors.”
He stressed that“The short play is now another line of business, not a side business for the anchor.”
Their logic is that the “actress + content” eco-business model, which no longer focuses only on the market MCND incubation, but rather on the co-development of multiple operations, such as short play production and business brokers.
Unlike traditional video companies, the village chief ‘ s requirements for actor acting are not particularly stringent, but more unexpected, market matching and exposure. Artists sign in and are equipped with specialized video, live and business teams for multi-dimensional training to improve the competitiveness of actors ‘ markets.
Another type of production company has no intention of branding actors.
Even if they did, they would suppress money, prevent stars from pushing up costs and refuse to pay for the actor’s market heat, which would guarantee profits and make it difficult for actors to truly grow into “personal IPs”.
Some of the institutions are more specific: the short play is a step.
It seems that what really determines the ceiling of a brokering company is whether or not to push actors to mainstream video-enrichment projects such as Euerten, to achieve tripartite brokering cooperation, to deal with the risk management of actor back-to-back with public opinion, to operate the actor as a whole, to commercialized liquidity paths and resources — the core assets and key capabilities of the industry.
The short play self-study room has observed that there are a number of short-time actors who have experimented with the short-time drama and films, such as Li Zhue Khun, an actor from Kyushu, who has been in the “Face-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-A-T.
Lee Moo-hyun will be the leading actress in the Achilles show ” Burning the Heart ” , which will be the first ministerial play he will be performing, as he has officially announced earlier.
In contrast, it’s Hanaya Island, which is the soil of short play.
In interviews with the media, the author of the banner-blowing “The Home and Home” clearly stated that he would not sign “The Three Nos”: “Nos” for actors who only want to see the short play as a long play and a film jumpboard, who do not sign the bean-friendly mind, who do not respect the short play.
Zhang Zhang Zhang observed that, no matter how much the subject matter is, its brokering logic has always been subject to the original resource line and operational capacity.
The Coronets broke into the short play.
But how do you rate the short play? Some look at the number of fans, others look at the heat of the work and others look at the pay.
The core is also a direct source of income and, naturally, the remuneration for the performance. With the end of the short play, the head effect of the short-time actor became apparent, and many people started to get a little more pay, as well as an unexpected increase in wages in the industry.
I don’t care if it’s true or not.The demand for a salary increase has become a reality for many producers, for the platform, intuitively.This has led to the emergence of a number of institutions.A self-established short play broker seeks to secure the right to price actors.
It is recognized that the short play’s ability to make stars begins with the fan effect of the short play.
At the beginning of this year, after the fire of the starship “Good girl ” , Koshio’s fanship rose so fast that it now hosts nearly 6 million fans, with faults ahead of other short-time actors.
Since then, the commercial appeal of short-time actors has been addressed by mainstream media.
There is a growing presence of short-time actors in all the great arts; brand-named business and magazine offers are also “kissed up” and the Figaro magazine of Ko Sun and Ma Xiaoyu has a total of over 20,000 copies and over 110 w.
A number of brands have revealed that some of the leading male actors have already spent up to seven digits speaking for themselves.
Microblogging, data input, material output, fans, birthday help, etc.The treatment of traditional stars is now performed on these short-time actors. The short play comes to the moment of fame that belongs to it.
But this enthusiasm is also under stress: there are actors who are frightened by the funding of fans and who do not know how to respond; there are those who simultaneously maintain more than a dozen fans, and the last effort can only be broken up.
The short play also has the “star disease” and the long-term “trigger” of the movie industry has also appeared in the short play; even actors have been exposed to the “disconnection” of their fans and their image has collapsed.
It’s just a few of them. According to publicly available information, the daily salary of the head actor is generally between $1.5 and $US 30,000, “some micro-actresses who say 1 per cent receive a high salary must say too much that the number of actors who are able to earn a million will not be over 100”.
And the short play actor’s hotness is like a tornado, coming and going fast, the short show’s position as a “first sister” for 10 days and a little change for two months.The extent to which the commercial value and the viability of the drama is extended remains a mystery for mainstream advertisers.
Short-time actors are often exposed to a weaker brand, and even with a good medium- waist brand of olive branch, they tend to use short-term actor heat, short-term, shallow-level, low-level cooperation, such as brand friends, good referees, and so on, with little of this magnitude of cooperation and much less benefit than traditional stars.
The industrial ceiling is very certain to hang over everyone’s head.
Others have chosen to circumvent this logic. The Bean presentation, where a brand had previously found its own performer, hoping to be able to speak for its brand, was rejected by its company as “unrewardable”.
According to an analysis of the short play self-study room by the practitioner,The core values of short-time actors are “flow value” and “immediate explosive power” in that they can quickly and efficiently reach and transform the flow and naturally fit the commercial ecology of short video.
At the same time, downside brands and products look at the ability of actors to move in a simple and violent fashion, which may be inconsistent with the brokering company’s planning path for artists, and the acceptance of such words may reinforce the “downside” label of actors and make it more difficult to get high-end brand preferences in the future.
The blogger says:“The live tape is a “business” and an “identity.”The proxies have a greater impact on the long-term positioning of actors.”
Who’s going to price them?
In the run-off of the short play, the discussion of the “finals” never stopped.
It’s clear from Hanashima:Short operas, like television dramas and films, are in a very good form, and they can fit anything.
Many producers believe that the short play is only the starting point, through which actors are seen and truly stand up through the arts and the long plays. “There can be no one who can only play a short play for life.” A senior producer is telling the truth.
With MCN at its core, most actors still come from the Internet. Most of their short play is about anti-nursing. “How tired is it to make a short play, to stay up all night, to sit on the air and earn less than a short play.”
Different attitudes determine the way actors are valued.
To listen to Hanaya Island’s willingness to design a customized play for its own actors, and to integrate in depth brokering and content production, it goes beyond mere cost accounting and prefers actor incubation and branding.
Most production companies, however, generally do not recognize that short-time actors can contribute more to the show than traditional video stars.
According to the practitioners, the red fruit is currently actively inviting actors in the field and introducing a split-up model, which also helps to introduce a game of “who really defines the actor’s value”.
It is a fact that producers are reluctant to accept an increase in the price of film because of the bill.In their view, the success of the short play depended more on content and rhythm than on the personal flow of actors alone.
The platform is working with the producers to rewrite the rules. The splitting mechanism for the red fruit is essentially a “shared risk, shared benefit” redistribution of voice.
In Zhang’s view, the real commercial value of the so-called short play “head actor” has not yet been fully released, nor has it been sufficiently mobile, and the business has been more limited to the cycle of home-grown dramas, with very few truly broken circles.
Production companies are also generally oriented towards cost control, rather than into the culture of incubation of artists — even with red actors, they tend to maintain the original pay.
Many practitioners put it bluntly that the short play industry, unlike the traditional film industry, has a “man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man-man.
In traditional video, the industrial resources that the top star can extract are not comparable to those of short operas, where a top star can even feed a company, so that there is an introspection for Yang, Zhao Ruth and Gaga and the Milky Way.
But in the short-time ecology, it is difficult to come up with such a star myth, but rather to move towards a situation where play-based, multi-win situations prevail.
In the meantime, Zhang Yanhu’s company has signed new names, giving priority to those with short play experience. “We value the potential and the quality, and the goal remains to develop a cross-section of arts and traditional artists. The frequency of short play exposure is the ideal source of exposure for the preceding period.”
Once in the area of screens, there is a need to communicate with the platform and brands, but this is a “very heavy” matter. Ideally, a tripartite broker-sharing with such platforms as the Achilles and Telecommunications — that is the real mainstream.
The actors are looking for answers.In order to keep heat, short-time actors are more dependent on “themic tactics”, but the intensity of the filming, which lasts 20 consecutive hours and sleeps only 3 hours a day, is more evident in the line of “youth food”.
Some have opted for self-censorship, such as Xu’s creation and transformation; others have moved forward cautiously, such as Ko’s alleged rejection of a million words and the test of a water drama; and many have claimed to maintain their “individual” status in social media, refused to sign up to a broker and held their initiative in their hands.
The end of the short play means the end of the short play.
The development of the cyber opera can be used as a reference – The Crown Princess was chased by one side after the other, and Zhang Tian’s low-cost online play went from the bottom of the contempt chain to Chen Kaig’s film and walked into the Centre for the Voice of the Industry, where she still sits as a red star.
Who can easily draw conclusions about the future of these actors?Now that the “first brother” and “first sister” in the industry have moved away from the early grass-roots label, a growing number of class-based professional actors are becoming central.
Zhejiang Media Academy, Zhao Jia, who graduated from the Beijing Film Institute, and so on — they entered and injected professional background into the industry.
In this trend, who dares to assert that the future will not be the birth of an all-embracing artist in the development of shadow, vision and chorus?
We have also observed that more and more senior actors in the traditional video industry are entering the short play industry.
For example, a worker with more than 20 years of experience and a line of experience as a red artist, who now moves on to short operas, insists on retaining his working habits in long operas and movies.
The barrier between the long play and the short-time actor might be the day that it disappeared.
