短剧制片人称："筹备7天—10天，拍摄可能也在7—10天左右，整个拍摄加筹备也就在15—20天左右，一部剧差不多就可以杀青了。" 在横店多达14万人的注册群众演员中，很多演员曾经需要为了争取一个小角色连跑十几个剧组。而短剧市场的兴起又给他们的生活带来怎 样的变化呢？ 央视网消息：微短剧以其紧凑的剧情、夸张的表演、便捷的观看模式，满足了数字时代观众碎片化、即时化的娱乐需求。有报告显示， 2024年，中国微短剧市场规模已攀升至505亿元，首次超过全年电影票房收入。 浙江横店影视城拥有百余座摄影棚，古装、年代、现当代影视拍摄场景的数量超2000个，作为中国产业链最成熟最完整的影视拍摄基地， 近年横店也成为了微短剧的"生产工厂"。在横店，每天有上百个剧组、2万多名剧组工作人员忙碌在各大片场。 横店最近也被很多人戏称为"竖店"，目前在横店开拍的短剧剧组多达150个，并且这一数量还在持续上升中。 业内人士表示，一周左右即可拍完一部剧，这样的节奏在短剧行业基本是常态。 走访中记者了解到，随着市场的加速竞争，短剧行业也在悄然发生着变化，一味追求爽点、博眼球的剧情正在成为过去时，内容更加多元 和精良。数据显示，兼具故事价值和情 ...

Core Viewpoint - The article highlights the prevalent issue of "kickbacks" in the micro-short film industry, stemming from a lack of standardized costs, personal relationships, and deficiencies in the production system, ultimately indicating a need for unified industry standards [1][9]. Group 1: Prevalence of Kickbacks - The phenomenon of "kickbacks" in micro-short film financing is widespread, with industry insiders sharing experiences that illustrate the current state of affairs [2]. - The absence of a unified standard leads to significant cost variability, with production costs for the same script varying dramatically based on the team hired [9]. - The industry operates on personal relationships, where costs can be negotiated based on familiarity, leading to ambiguous definitions of what constitutes a kickback [3][4]. Group 2: Production System Deficiencies - The lack of a robust production system results in inefficiencies and wasted costs, which are more detrimental than the issue of kickbacks [10]. - A well-structured production system can directly reduce costs and improve efficiency by minimizing unnecessary travel and ensuring timely coordination among crew members [12]. - The current state of the industry is characterized by a fragmented production approach, leading to delays and increased costs due to poor planning and coordination [10][12]. Group 3: Need for Standardization - The micro-short film industry lacks a unified production standard, which complicates the assessment of whether expenditures are justified based on the commercial outcomes achieved [9][11]. - Establishing clear production standards and improving the production system could help mitigate the issues of kickbacks and inefficiencies, allowing for better measurement of costs versus outcomes [13].

Core Insights - Zhengzhou is emerging as a new hub for short dramas in China, attracting a significant number of filmmakers and actors from other regions, particularly from Hengdian and Beijing [1][2][3] - The city boasts a robust infrastructure for short drama production, with over 100 film crews operating simultaneously and more than 1,000 micro-short drama companies established [2][3] - Zhengzhou's advantages include lower production costs, a rich pool of talent from local universities, and a wealth of cultural resources that enhance scriptwriting and filming [3][2] Industry Overview - Zhengzhou has become the third-largest producer of short dramas in China, with daily filming activities involving nearly 100 crews and a workforce exceeding 50,000 [2][3] - The production cycle for micro-short dramas can be as short as three days, with costs controlled at approximately 2,500 yuan per minute [2] - The local government and industry stakeholders are leveraging Zhengzhou's historical and cultural assets to enrich the storytelling potential of micro-short dramas [3] Talent and Workforce - A significant influx of talent from other regions is noted, with hundreds of actors migrating to Zhengzhou for better opportunities and stable income [2] - Local universities are contributing to the talent pool by training thousands of graduates in micro-short drama and related fields each year [2][3] - The industry is witnessing a rise in actor signings and increasing salaries, indicating a growing demand for creative professionals [3]

Group 1 - The trend of micro-drama actors signing with traditional film and television companies is increasing, indicating a shift in the industry dynamics [1][4] - Major micro-drama actors have signed with well-known production companies, showcasing the growing recognition and demand for talent in this sector [1][3] - The signing of micro-drama actors by traditional companies suggests a strategic move to diversify content offerings and tap into the popularity of micro-dramas [4][10] Group 2 - Micro-drama actors are categorized into four types based on their signing situations: those with vertical production companies, traditional film companies, MCN companies, and self-established studios [3][5] - The signing of new actors is seen as a long-term investment strategy by companies, as it allows them to cultivate talent at a lower cost compared to established stars [8] - The micro-drama industry is evolving towards a more industrialized production model, where actors are viewed as essential production resources [8][9] Group 3 - The workload for micro-drama actors is significantly higher than that of traditional actors, with top actors shooting over 12 hours daily and taking on 30-50 projects annually [9] - By signing with agencies or forming their own studios, actors can focus on their craft while outsourcing non-core tasks, enhancing their overall performance [9][10] - The collaboration between actors and companies is not merely transactional; it involves deep integration in content production, traffic operation, and commercial development [10]

Overview - The micro short drama market consumed a total of 22.62 billion in May, representing an increase of nearly 8% compared to the previous month, with a cumulative consumption of 110.29 billion by 2025 [1] Market Performance - In May, the top two spots in the DataEye micro short drama heat list were dominated by "That Year the Sunshine Was Just Right" and "Out of Hand," with heat values exceeding 4200W and 3800W respectively [2][12] - A total of 73 new dramas entered the top 100 heat list, with 41 of them making it into the top 50 [2] - The overall heat of micro short dramas increased, with 41 dramas achieving a heat value over 1000W, an increase of 10 from the previous period [2] Company Performance - Companies such as Tomato, Hippo, Moya, and Jiuzhou were notably active, with Tomato securing 32 spots, Hippo 17, Moya 15, and Jiuzhou 13 in the top 100 heat list [3] - The associated heat values for these companies were significant, with Tomato exceeding 270 million, Hippo over 240 million, and Moya and Jiuzhou at 170 million and 140 million respectively [6] Genre Trends - The top genres for micro short dramas in May included emotional themes, with 512 million materials for female-oriented dramas and 203 million for male-oriented dramas [15] - Emotional themes led the material submissions with 554 million, followed by revenge themes at 408 million and urban themes at 367 million [16] New Releases - The DataEye micro short drama new product list was topped by "That Year the Sunshine Was Just Right" and "Out of Hand," with 13 female-oriented dramas and 7 male-oriented dramas in the top 20 [12][23] - The total heat value for female-oriented dramas reached 3.5 billion, with 7 dramas exceeding 2000W in heat value [23] Advertising and Distribution - In May, the distribution channels for micro short dramas saw Douyin mini-programs leading, followed by apps and WeChat mini-programs [25] - Douyin mini-programs accounted for 67% of the total material submissions, although their share has been declining for three consecutive months [27][28] Industry Dynamics - The trend towards IP adaptation in micro short dramas is increasing, with major platforms like Mango and Migu opening their IP libraries for adaptations [29][30] - The government is further investing in the micro short drama sector, with various initiatives announced to promote the industry [33][34]