Chinanews client, Beijing, May 14 (Reporter Yuan Xiuyue) Explosive IP dramas have always been one of the indicators to measure the development trend of TV dramas.

　　Since the film and television industry entered the "winter", the explosive IP dramas have also been different from the past.

Especially this year, from "Shanhe Ling" to "Sito", it is not a combination of traffic stars and big IPs.

　　At the Guduo Network Film and Television Summit, many people in the industry believed that to create more explosive styles, the only way to return to the content itself is to make the stories and characters to the extreme.

"Sto" poster

Is the IP drama rectified?

　　As one of the most demonized vocabularies in recent years, IP dramas were once all the rage, but they quickly fell into the cold after encountering many problems such as "dramatic water injection" and "acting embarrassment".

　　After several years of downturn, IP dramas ushered in some new changes.

The "2020 China TV Series Weather Vane Report" shows that IP development and reprocessing have become the main trend of film and television creation, especially the number of IP adaptations of network dramas has steadily increased.

In 2020, the number of IP adaptation dramas continued to increase year-on-year, accounting for more than half of the total.

　　Yin Hong, a professor at Tsinghua University, commented: “Many good works in the past two years have come from IP, which is to justify the name of IP drama. IP plus film and television should not be mutually consumed, it is precisely for mutual benefit. Internet IP itself is an original creation. , So this advantage will be shown again in 2020."

"You are my city camp" poster

　　This situation continues until this year. In the first half of 2021, many hit dramas or hits were adapted from IP, including "Shanhe Order", "Sato", "Zuo Son-in-law", "You Are My City Camp", and "Imperial". The Douban scores of these dramas are all above 6.5 points.

However, there are still some IP dramas in period costumes that are not as good as expected, such as "Jade in the Heart", "Shangyang Fu", and "Douluo Mainland".

　　In the past, the more famous IP has the advantages, but from the actual experience in recent years, the greater the IP, the greater the risk of magic change. On the contrary, the less well-known IP dramas are prone to "turn overtaking".

Wang Beibei, founder of Guduo Media, believes that the current film industry, the era of big IP, big star, and big group plate has come to an end.

"Mountain and River Order" poster

How was a hit show born?

　　So, today, how to create a good IP drama?

　　The first is the script adaptation.

Ma Tao, the chief producer of The Order of Mountains and Rivers, said that in fact, it is not too difficult to modify the IP of Orders of Mountains and Rivers. Just follow the way of martial arts.

One thing they want to do is to distinguish it from the old martial arts of the past.

"With so many characters in the story, each character can respond to the audience's empathy points, and put these in the script firmly, and then the audience will discover the things buried in it, and then they will be interested in chasing them."

　　"Adding points on the basis of the original work, this is my experience." Wu Xingyan, general manager of Yuekai Entertainment Film and Television Production Center and producer of "Sato", believes that the IP of "Sato" is very suspenseful. The story It is strong in sex and logic, and it is necessary to maintain the advantages. Its emotional drama has a lot of blank space, so they made the biggest changes in the emotional drama, including adjustments to the male host settings and the details of the interaction between the male and female hosts.

　　The biggest risk in the film and television adaptation of "Sto" is the worldview. For this reason, they consulted many experts to avoid the minefield, including the blood relationship of the hero and the heroine, etc., and put all the homework in the forefront, so that the lightning point was solved at the stage of the script. .

"Zuo Son-in-law" poster

　　Deng Ke, the director of "Zuo Son", believes that there is no one-time-and-for-all way to adapt the IP. It takes a lot of research and imagination to imagine the possibilities inside.

He said that "Zuo Son" has some changes. The novel has many advantages, but there are also some things that are inherently unsuitable for film and television, such as in the discussion of some gender issues.

　　In addition to the script, for a play, the actors, character creation, special effects, service, and other aspects are also very important.

　　The costumes of the protagonists of "Shanhe Ling" have been praised by netizens.

Ma Tao revealed that there are many fighting scenes in martial arts dramas, so they designed a lot of clothes with big sleeves to create the beauty and elegant feeling of fighting scenes.

The clothing colors are also matched according to the character's personality. The cool colors designed for Zhou Zishu, while Wen Kexing is more active, and are designed according to the colors of spring.

　　In "Sito", Jing Tian's interpretation of the heroine Siteng breaks through many audiences' perceptions of her.

Wu Xingyan believes that the degree of adaptation between the role and the actor is very important. The temperament of Jing Tian, ​​coupled with her level of care for the role, makes everyone think that she is the best candidate for Sito.

"Long Song Xing" poster

"At the end of the big wave, the people who make the boutique dramas will still be on the beach."

　　Han Zhijie, senior vice president of Penguin Film and Television, once summarized three problems from the failed big IP cases, namely, being influenced by data, catering to the market, and betting more energy and budget on traffic stars instead of creation.

In his view, IP itself is not wrong, but the market's perception of IP is wrong.

　　As the bubble receded, the film and television market also ushered in a major reshuffle.

The rise of short video platforms has intensified the competition between long and short dramas.

In today's post-film winter, how should film companies survive, and how will they welcome the next boom?

　　Li Zheng, President of Perfect World Film and Television and Chief Producer of Li Zheng Studio, believes that the capital bubble period of the film and television industry in the past few years has become a thing of the past, and the film and television industry in the future is likely to use the power of technology to carry out large-scale and rationalized production. .

While technology helps make projects more efficient, Internetization will also reduce the cost of products. This is a natural process, but aesthetics is always something that machines cannot replace.

He believes that when the big waves wash the sand at the end, people who make boutique dramas will still be on the beach.

Poster

　　Zhou Xiaoxiao, general manager of Xixi Films Content R&D Center, believes that in the face of competition, the content and production ends of film and television projects must ensure higher industrial standards.

　　"The current practices like water injection and procrastination are all disgusted by the audience. Short dramas and Chinese dramas may be more popular in the market in the future. We will also wonder, where is the value and charm of film and television dramas themselves? Audiences target film and television projects. , What is the consumption of film and television products? I personally think that more is the consumption of stories and emotions. Then we have to return to the value charm and energy of this film and television drama itself, and put the stories, characters, and audiences in it. Emotional needs and resonance are the ultimate."

"Shangyang Fu" poster

　　Xie Ying, general manager of Youku Drama Center, shared that in fact, every type of content can survive as long as it has its own solidified users and loyal users. Therefore, in the future, video platforms will pay more attention to the value of high-quality content instead of just watching traffic. , This will also be the direction that the entire long video platform will move towards the membership value system in the future.

　　"Our strategy is: don't be extravagant but be efficient; don't want idols and actors; don't want traffic to value." (End)