- il y a 2 jours
Industry leaders discuss the future of short drama and how the market is evolving beyond rapid growth.
Organized by SocialPeta, the panel features:
• Anna Butuzova – Braavo Capital (Moderator)
• Guillaume Sanjorge – Duanju News
• Sanuf Mohad – House of Frames
• İlhan Doruk Önel – dükkanprod
• Pankaj Uniyal – SocialPeta
The discussion explores original IP, audience acquisition, content quality, AI, sustainable business models, and the future of the global short drama industry.
Organized by SocialPeta, the panel features:
• Anna Butuzova – Braavo Capital (Moderator)
• Guillaume Sanjorge – Duanju News
• Sanuf Mohad – House of Frames
• İlhan Doruk Önel – dükkanprod
• Pankaj Uniyal – SocialPeta
The discussion explores original IP, audience acquisition, content quality, AI, sustainable business models, and the future of the global short drama industry.
Catégorie
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Court métrageTranscription
00:00:03so hello everybody i hope that everybody who wanted already joined us i'm very happy to see
00:00:10you all here as we will be discussing the next chapter of short drama from growth to sustainable
00:00:16business so my name is anna butuzova i'm coming from bravo capital for those of you who may not
00:00:23know about bravo we provide various financial instruments for mobile growth such as acceleration
00:00:29of user acquisition improving cash flow and such instruments that can you that can help you scale
00:00:36sustainably so i'm very very happy to be presented here today uh as i was actually observing the market
00:00:43of short drama from very different perspectives previously i was working a lot at media and
00:00:49animation industry at every content market i went everybody was discussing short drama like
00:00:55already two and three years ago and i'm very happy to see that today it is all not only like
00:01:01the
00:01:02content that is really booming that is conquering the audience that is attracting more and more viewers
00:01:07but it is a whole new category in app market that is showing very very great numbers and great results
00:01:13so we're lucky today to be uh with very very fresh data from um sensor tower latest report and according
00:01:22to
00:01:23these numbers actually in q1 2026 we could already see around 850 million downloads for uh the category
00:01:32which is showing the growth of 140 for year over year uh speaking about money uh the uh category is
00:01:41also
00:01:41generating very very very big revenue and for q1 it is around 750 million for just in-app purchases
00:01:50and with these numbers we are very very lucky to see that at the end of the year like the
00:01:55whole
00:01:55category will earn up to 3 billion annually and this is just like crazy for me so actually yeah the
00:02:02uh
00:02:02category is developing very very fast the market is developing first and we have already seen like
00:02:07different chapters so the first chapter was about um finding the right content that would be interesting
00:02:14for the audience the second chapter was more about scaling finding the ways to acquire users to get new
00:02:22viewers and etc and now we're entering a completely new chapter about building a fully sustainable business
00:02:30so i'm very very lucky today to be uh with brilliant people with really leaders from the industry
00:02:36and i would um give i would be very happy to give the words to the speakers to present themselves
00:02:43and then on
00:02:53uh thank you so much for your time uh for this webinar uh just to introduce ourselves uh we are
00:03:04social beta we are basically an ad intelligence platform uh we are into this business for more than last ten
00:03:11years uh recently we have uh realized that the
00:03:14and also witnessed now uh that micro drama is very booming uh we were those early uh companies
00:03:23who actually believed uh in this uh category and we have developed uh our tool around uh the
00:03:31micro drama that can basically help the specific advertisers who are into the micro dramas uh
00:03:37though like we have some other offerings for all the apps and web developers who are doing
00:03:42uh your page i think uh uh today uh we are uh here to talk about specifically to micro drama
00:03:49so
00:03:50i would also love to understand you guys uh what all your experiences and i think it will be a
00:03:56great
00:03:56learning experience for all of us thank you everyone
00:04:02yeah thank you so let's move forward and give the words to guillaume
00:04:08hello everyone thank you for invitation and please excuse me for my french accent
00:04:15so i hope you will understand me today um my name is guillaume saint george i am producer and the
00:04:23founder of diongionews since 2023 i have been working on fiction made for mobile phones and
00:04:31i have produced several series in this format when i entered this industry i also followed the success
00:04:41of diongiu in china i use the word diongiu because it is the term used in china china china created
00:04:51this
00:04:51format and developed the main business model that made it profitable i created diongiu news because this
00:05:00format needed to be better understood in europe and around the world through this platform i follow
00:05:07production distribution and monetization trend across many countries we also speak in the media in
00:05:15french and internationally we take part of conferences and festivals and we distribute our own series on
00:05:23different platforms and different platforms i am very happy to be part of this discussion today
00:05:30merci beaucoup okay we're ready to move forward to sanoov here sanoov please tell about yourself
00:05:39thank you anna thank you for the invitation guys first of all so myself sanoov i previously
00:05:44walked in cuckoo like from 2020 starting onwards i was there in cuckoo like recently only i started my
00:05:51own company which is also frames which is not yet publicly we disclosed like i think this is the
00:05:55first time in social beta we are announcing that the company name is also frames we already started
00:06:00working with a lot of global and indian players in micro drama and other like fiction and non-fiction
00:06:07content platforms like it's been a very good journey so far and i would like to share my learnings
00:06:13across what we built in india and what we are scaling in india and all those things yeah looking
00:06:18forward to discuss further great thanks a lot for the introduction and let's move on to ilhan
00:06:28so hello thank you for the invitation um i'm in handle canal uh founder of duccan uh and
00:06:36i'm a creative producer uh with an international uh relations background previously worked in us mbc
00:06:44and um dp um finding similarities when it comes to high stress situations between politics and film
00:06:52sets um we are a creative agency and a production company that works with brands like ford fashion
00:06:59week samsung and netflix acting as a creative agency for netflix and samsung for two and a half years
00:07:04and uh for the past two years focusing on vertical series developing our own ips and doing service
00:07:12productions with a proud 25 vertical series catalog in two years which can find which you can find it
00:07:19on drama pops um producing both in istanbul and with international co-production partners mainly
00:07:26thank you so much yeah thank you so i believe now everybody can understand that we
00:07:32have like a very very strong team to speak today about short drama and let's start with the first
00:07:38so to say ice breaking question just to see like the perspective of everybody of uh the new tendencies
00:07:45of how the market is evolving so as a short drama industry moves from rapid expansion to a more
00:07:52competitive phase what is the single most important change that will define the next chapter of growth
00:08:00so uh i can tell you like uh it's been i guess uh internationally this micro drama the term vertical
00:08:10drama micro drama which is spread across the geographies from last uh 1.5 years i would say
00:08:16because it started from china and it's emerged in multiple market and it's become a one of the most
00:08:21prominent uh area where like a lot of investors also focusing right now but the shift is very fast
00:08:28i would say similar to the episodic shift happening in micro drama itself because there is a time where
00:08:34like multiple platforms try to replicate same kind of a content and try to bring the users to their
00:08:40platform but this is now changing because all those content which is replicated from other content or
00:08:46other translated content which is now fading away and it started to become a kind of a unwanted content for
00:08:52the users so the shift from the volume the amount of volume they are producing in terms of the content
00:08:58and the traffic uh mainly focused content which is the the the major problem which all the micro drama
00:09:04platforms are facing nowadays is how they are creating the discovery of the shows for the users
00:09:09because the platform itself is not uh uh having that much user base so they are relying on meta or
00:09:15google or whatever the way they can bring the users to the platform so the content they created is
00:09:20now entirely is a waste of money right now for a lot of platform now they're shifting into a based
00:09:26production or the content which they can develop in a way like uh the fast phase the new developed
00:09:31type is also they're exploring so the shift from that kind of uh like i would say a tick tock
00:09:37era kind
00:09:38of content to the proper uh like ideal content which specifically crafted for a set of users uh maybe that
00:09:46users uh the consumption pattern or the way they are consuming the content might be varying from each
00:09:52your geography but the micro drama also facing that kind of evolution that is where the new
00:09:57shift happening in terms of the content strategy and the discovery and other platforms uh and all those
00:10:03marketing scope and everything is also improving it's now following a trend of how uh this otd platforms
00:10:10emerged as a key winner uh like apart from the other like original distributors or other movie
00:10:17platforms and others so how that evolution happened same is happening for micro drama so that is the shift
00:10:21i am eagerly looking after because the a based micro dramas are very crazily exploring and a lot of
00:10:28new uh like uh dramas are creating that human human phase or human touch that feel is there so this
00:10:35is
00:10:35the mix of human based and a production will be the new shift i would say in micro drama industry
00:10:42which
00:10:42is happening very fastly and that is very true and evident i guess a lot of you already can explore
00:10:46that
00:10:47further yeah that's it yeah thanks a lot i truly agree here and i do believe that content is a
00:10:53king
00:10:53and actually i believe like in the next year or two will be very very actively seeing what would be
00:10:59actually dominating on the market so let's move to ilhan so what is the single most important change in your
00:11:06opinion well i have a combined answer uh i'm finding very hard to say one single thing about uh turning
00:11:17this into a sustainable industry um but um i would like to underline something first that this is a
00:11:26this is a library business this is not only one ip thing so um and apps i look at the
00:11:34apps and the
00:11:34platforms as a curation library uh and i think the approach should in order to stabilize the sustainable
00:11:43growth uh from the booming uh era of short drama is to have um mainly direct distribution well-created
00:11:55libraries and balancing marketing strategies uh when it comes to paid and organic growth
00:12:01products so um not only um paid acquisitions and um ad uh ad based marketing strategies uh it should
00:12:17be around uh the the creators at the same time and how they market themselves who creates it who are
00:12:26the
00:12:26actors and actors and actresses in the series at the same time uh because i believe most of the
00:12:34people in this panel uh are following the fan pages at the same time that is actually driving communities
00:12:42around short drama right now and um with that the the main thing is that whether one ip is going
00:12:52to be successful
00:12:53or not is that uh whether the curated library is going to be successful or not so um i believe
00:13:03the the the biggest
00:13:04change to stabilize and have a more sustainable growth in this industry right now after the boom
00:13:12is to have uh mainly the direct distribution and a well curated library yeah thanks a lot
00:13:19here and let's move to guillaume so what do you think about the single most important change
00:13:25yes the danger industry is growing very quickly the success of china has encouraged many companies to
00:13:34develop his model in other markets especially in the united states growing and today the main challenge
00:13:42is user acquisition platform need to attract viewers and keep them engaged most platforms rely heavily on data
00:13:51and audience analysis but i believe the next phase will focus more on content quality
00:13:59viewers will be more willing to pay and especially to subscribe if they find better stories and stronger
00:14:07future production they need recognized title strong words and memorable characters the company as that succeed
00:14:19will be the one that build strong brands and memorable series the future will not be only about growth and
00:14:29volume
00:14:29uh it will also be about quality origin origin originality and audience loyalty
00:14:38viewers will return to an app because they want to follow their favorite characters
00:14:45yes it's it's my opinion okay okay so thanks a lot and pankaj what do you think
00:14:52what would be your answer yeah i i agree with all of you guys uh very interestingly like from from
00:15:00our
00:15:00perspective how we see uh any app uh in terms of uh micro drama so the ad credit for micro
00:15:09dramas are kind of
00:15:10content uh from itself uh it's very interesting that how how you use those credit i mean to attract the
00:15:19customers so that's one point so the user acquisition and uh uh the uh the monetization go hand in hand
00:15:28i
00:15:28mean in these two parts uh the first thing is uh the market that you are capturing or market that
00:15:35you are
00:15:35trying to capture and i mean that is one of the focus uh and the problems can be different for
00:15:42different
00:15:42apps depending i mean the the time frame that they are into the studios probably some segment leaders
00:15:49they already have achieved like millions of downloads they probably do not care for new users who are
00:15:55downloading that much rather they are probably thinking of people who are spending more time with like
00:16:02all episodes or d7 d30 or maybe uh if they have spent like time watching one entire series i mean
00:16:11do they retain uh for the next series i mean that is their pain point uh so of course like
00:16:16content is
00:16:17one of the biggest strategy and it will always be uh because people are here uh for entertainment
00:16:24uh and the choices can be different for different audiences so uh maybe uh within the same platform
00:16:31there is a there's a group of people who are coming to uh watch specific uh uh element probably romance
00:16:39uh on the other hand they have like huge number of people who are interested to see some other
00:16:44elements kind of uh uh maybe revenge so catering both of them without losing uh any of them i mean
00:16:53it
00:16:53is one of one of the big challenge for the apps those who have been existing uh in the market
00:16:58for maybe
00:16:59like three or more years uh for the new users comparatively uh they do not have to fight uh
00:17:06uh with the face uh for validation because they already know there is a huge market uh probably
00:17:12they can be more uh user acquisition oriented uh at the same time they can inspire from the
00:17:19bad performing uh uh the genres uh which has which has been working for uh maybe some of these content
00:17:26leaders uh and they can have uh their strategies around it so i think problems can be different uh for
00:17:34different
00:17:34apps depending uh how new or how old they are uh some apps can focus on specific categories so
00:17:43they can have different problems but uh one common aspect for everything uh keep the users retained uh
00:17:51as well as uh having new customers on board uh continuously so i think this is the approach uh that
00:17:58we see uh going forward
00:18:01uh here thanks a lot i also completely agree with you here and now we actually have a very very
00:18:07nice
00:18:08opportunity to go a little bit deeper and to add some more specific questions to our speakers and
00:18:13the first question would be to um um yeah so you are very active in terms of global drama market
00:18:21global
00:18:22short drama market so can you actually see the difference like uh how would you assess the current
00:18:28stage of development actually in the european market do you see like uh is there any difference
00:18:34between the companies that are already building a more sustainable business form comparing to somebody
00:18:40who are chasing a short-term growth will be very very interesting to see your perspective here
00:18:47yes yes the european market is still at an early stage
00:18:56uh china already has a mature industry the united states benefits from major investment
00:19:04and europe is still discovering this format most people do not know it yet
00:19:10and business models are still evolving in french the media is starting to pay attention new articles are
00:19:19published regularly and i try to support his visibility this situation also created opportunities the biggest
00:19:29apps are not still not very present in europe that gives us times to prepare and invest
00:19:37before stronger competition arrives european companies can still adapt the format to local audiences
00:19:46it is important to remember that europe is not one single market each country has its own language
00:19:53culture and viewing habits that's work in one country may not work in another through danger news
00:20:03i speak with producers investors distributors across europe many are still exploring the best strategies
00:20:11the company that succeed will be the one that build strong catalogs and control production costs very
00:20:19important then we also need to focus on distribution creating content is is important reaching an audience is
00:20:29even more even important important we are currently preparing a dedicated app us and the network of
00:20:38dionju websites in different countries we already own around 50 national or regional dionju domains names
00:20:46including spain mexico japan india and several other markets our goal is to provide editorial content
00:20:55highlight dionju hair and help viewers discover them even today many people do not know where to find
00:21:05this type of content one of the biggest challenge is europe is visibility in long term the strongest
00:21:14companies will be the ones that build loyal audience and effective distribution channels it's okay it's all
00:21:23okay here so thanks a lot and here i can actually see that european market has a lot of opportunities
00:21:29to grow
00:21:30faster and even bigger and that is why we have a second question to sanuf so in a highly saturated
00:21:38content environment how do you think european audiences differ from other regions in what makes
00:21:44a short drama truly engaging and memorable so what do you think yeah so it's actually a nice question uh
00:21:52like
00:21:53to be honest uh the core of the content which is uh the theme we are presenting or how the
00:21:58user is consuming
00:21:59that content which is a major like player in terms of i would say like a major point in terms
00:22:05of a content
00:22:06need to be successful so in comparison with the any other region if you take europe as an example
00:22:12europe has a much more culturally advanced level of understanding the content so they have a very strong tv or
00:22:21theatrical presence and they know the content evolution how it happened and how the content they're consuming also
00:22:27changed a lot rapidly but currently if you've seen that the people demand more story driven content
00:22:34rather than any uh like a unwanted tick tock style content so that is where the demand for a proper
00:22:40content strategy coming in place for a market like europe even uh for example that you all of you might
00:22:46know the movie called obsession which has created a huge buzz around the world because the format is
00:22:52is already familiar to everyone but still they introduce a new variety of storytelling which
00:22:57attracted a lot of new users same is happening in europe as well for short drama platforms because
00:23:03whichever uh translated or adapted content which is being distributed or marketed in european region
00:23:10it's not getting that much of appreciation comparing with any other developing country so the term developing
00:23:16and developed is playing a crucial role in terms of the content strategy as well because the developed
00:23:21country the people over there is always prefer a content which make them relaxed which which make
00:23:27them spend their time wisely but at the same time the developing country uh or the countries which is
00:23:33already some somewhere in terms of the per capita or any other terms is far behind the uh behind from
00:23:40any of these countries they demand more aspirational or more like a larger than the life kind of a stories
00:23:47so
00:23:47that is where the differentiation for europe region comes place so the the content the amount of stories
00:23:53they are playing or the authenticity of the story or the way it's communicated and the quality of the
00:23:58content these are the things will play as a crucial role in european market comparing with any other
00:24:04region even i have my experience in personal experience where i tried to market one of the indian
00:24:09content in european region and we found out that the content is not working not because of the way we
00:24:15create the content because it's a kind of a content which is already available in european market by
00:24:19different players because it's just an adapted story at the same time when we explored something
00:24:24new when we tried one of the original shows which we target in european market the market like uk or
00:24:30uh
00:24:30i think uh mainly uk and other region it's it's uh actually worked for us because the content which we
00:24:37tried to sell there is an original content which is new to the user which is something uh different from
00:24:42what they consume daily so that kind of a content variety need to be in place in micro drama and
00:24:47this
00:24:47is something i also uh like discussed with one of my uh one one of my co-founder who is
00:24:53actually
00:24:53building a larger company right now from us so this is something he also uh understood and he also
00:24:59acknowledged that uh because already the content variety of content we explored a lot the hidden identity
00:25:05or the loud drama or ceo romance everything is explored a lot but at the same time there is a
00:25:10huge gap
00:25:11in between i would say like 90s like early 90s to 1930 1940 this region or this particular time
00:25:20period based costume dramas will be one of the most uh like a consumed content in the upcoming days
00:25:26because the major platforms are also started exploring these kind of genres because costume dramas
00:25:30working really well for uh chinese uh chinese region so this is something european market also will
00:25:37adapt if that colonial era kind of a costumes introduced and that kind of a storytelling is
00:25:42happening uh in the same structural format of micro drama so this is what i personally believe
00:25:48where like the european region is differ from the content conception rather than any other play
00:25:53players out there and the quality is the major player here in along with the content strategy and what
00:25:59we are bringing to the users so that's it i guess uh okay okay here so very interesting point of
00:26:06view and
00:26:07actually here i i do also agree with this um yeah but of course european market is very interesting and
00:26:14i believe like we have a lot to grow here but if we move to turkey actually this market has
00:26:20been already
00:26:20quite popular with all the short dramas that has been like appearing on this market and a lot of viewers
00:26:25that are actually actively viewing this content and so the question is for ilhan so like in turkey's
00:26:34fast growing short drama market how do you balance the pressure for speed cost efficiency and storytelling
00:26:39quality what challenges are unique to turkish market uh comparing here to some other emerging markets that
00:26:47you work with okay i think um there should be a distinction between the local content and the
00:26:56content that is producing for being produced for the u.s market um or international markets we've been
00:27:04producing for the north american market for the past two years and there's only two big scale international
00:27:10producers in turkey right now um which the other one is uh one of our co-producers um but the
00:27:20turkish short
00:27:21drama series are recently being adopted and their local turkish series being developed for
00:27:29turkish audiences and turkish countries at the same time and at the same time um if we divide the short
00:27:37drama and the film and the film and classic dramas uh turkey is second or third largest film exporting
00:27:46country in the world um so if you go to uh the states the europe or russia or anywhere in
00:27:55the world
00:27:56that you're gonna see uh people are watching turkish series and learning turkish from turkish series as well
00:28:04and with this uh i believe uh i believe there's differences in practice when it comes to turkish
00:28:11productions and international other countries productions uh which we worked with uh a co-production
00:28:17company in prague in lithuania and in the uk in the us in the past two years which uh we
00:28:26learned from each
00:28:27other but i believe that this short drama industry right now has a lot to learn from turkish storytelling
00:28:35and turkish practices uh when it comes to producing drama series and uh when it comes to challenges um
00:28:46and like using the opportunity of this platform uh i would like to say that one of the biggest
00:28:53bottlenecks is that um most of the international producers and platforms uh does not know the
00:29:01environment in turkey uh and and in our recent production um back in march uh we had uh i had
00:29:13like
00:29:13a couple phone calls with the managers from the states uh whether they were asking we were seeing the
00:29:20missiles up in the air because of the iranian dispute uh which we have like 2 000 kilometers between
00:29:27istanbul and the iranian borders which is impossible to see and it's impossible to be affected from it um
00:29:37so um and other than that every actor that we brought to istanbul in the past two years
00:29:44uh they've uh they've like posted stories that they want to move to istanbul um i believe we have
00:29:53very fun productions when it comes to producing series because as a creative producer i believe in team
00:29:59building and the welfare of the team while producing the content is very important at the same time
00:30:06uh which um sadly uh i have heard like couple um bad experiences that happened from uh international
00:30:17producers in order to reduce the cost so uh it's very important to balance the the speed the cost
00:30:26efficiency and storytelling like you asked uh and while focusing on the welfare of the content
00:30:35welfare of the platform and welfare of the teams and i believe this is what something we do very good
00:30:44uh as a turkish production company yeah thanks a lot and by the way i have also a small question
00:30:51so
00:30:52um how much time do you need like uh approximately to create like a whole new series like maybe a
00:31:02season
00:31:02um we have um 10 writers that we've been working in the past two years and additionally new ones
00:31:12right now we're developing new premises every week like 10 to 15 and um but for a span of a
00:31:21one ip
00:31:22we take um three to five weeks in order to develop the scripts but we develop scripts simultaneously
00:31:31uh with different writers and then we do two weeks of pre-production uh six or seven days of shoot
00:31:39and then uh between three weeks to five weeks of post-production until delivery and we do a 360
00:31:47production uh developing all the series and delivering it to the platforms with um photo shoots
00:31:56um deliverable marketing contents and um anything that they need actually yeah it's very high efficient
00:32:05like uh content production system so to say yeah so thanks a lot or teşikule here i'm also learning
00:32:12turkish not from short drama but still yeah so um let's move next and ask pankaj uh because i do
00:32:21believe
00:32:21that he has a lot of insights on the market as well so from social peter's perspective how is user
00:32:28acquisition evolving as the short drama industry matures globally and what key differences do you
00:32:34have there for across regions such as europe india and southeast asia uh sure um i i was just just
00:32:44uh
00:32:44listening to uh irhan and i am very uh much agree uh and there's just uh just a context uh
00:32:52in india i
00:32:53mean uh not that in but you can't a very similar pronunciation for the shop so i think we have
00:32:59similar
00:33:00sort of elements so probably you can look to the indian market as well as we have some uh content
00:33:06that
00:33:06can go uh align with our uh culture uh so very interestingly i mean uh some of the points that
00:33:12i have been uh listening uh that yes um localization is is really important because what uh as you now
00:33:21said uh something that is uh very regular and very common uh in any specific country maybe turkey or
00:33:28uh somewhere in europe uh overall europe uh may not be easily accepted in probably some other parts
00:33:35of the world uh so it's not that just using the the translation or using transcribe uh the content and
00:33:44put any sort of voice without any understanding of the motivation or the actual culture how they
00:33:50uh stop i mean if you do this uh probably uh for very first time it may may work for
00:33:57someone
00:33:58but on the longer run i think this kind of episode uh will not uh leave the users uh on
00:34:06your platform
00:34:06for a long time there can be there can be some global content uh for example uh from beyond itself
00:34:13i mean globally i mean globally we just have uh one james bond we all we all have seen him
00:34:20and and we
00:34:21accept him uh the way he is the kind of energy he has uh probably he has a different lifestyle
00:34:28than ours
00:34:29but we still uh admire him so there can be some content that can be uh for the global audiences
00:34:35uh
00:34:36whereas uh most of the audiences are now demanding uh for the more localized content because uh they have
00:34:44been into uh micro drama phase for probably last two or three years very actively uh this very great
00:34:54competition in the content itself uh you beat in any category you see the top dramas and you will see
00:35:01a very interesting fine interesting stories uh shoot it with very good quality cameras and very good
00:35:08direction and everything and even uh once the uh the series is completed they have also left a room to
00:35:17build a next part of it so i mean it is no different than we used to see in the
00:35:21otts or maybe in some
00:35:24movies as well when we have seen the uh sequel uh so we have a room uh for it uh
00:35:30something which has
00:35:31really been worked probably in some major uh countries we can of course tested uh from the bigger place
00:35:40perspective how did do it uh they probably get a very good clip uh with very good uh book and
00:35:48they can
00:35:48they can do like maybe 12 15 or 20 or more variation and they just test it on uh different
00:35:54uh different
00:35:55platforms like meta or youtube shorts or tick tock for that measure and anything that is more engaging
00:36:02i mean that is giving them a hint i mean this is the point wherein people are actually engaging and
00:36:08now
00:36:08we have to probably iterate more properties related to it and the other part so therefore the top
00:36:14advertisers that we see for one single uh content of one single uh show they probably have like 50 000
00:36:23creatives in all i mean they have tested uh probably uh 2000 worked really well really well for them
00:36:30but they tested a lot so it's not uh that they are testing so many creatives they are not publishing
00:36:36so
00:36:36many creatives but they are testing so many creatives they are finding what have been working and they
00:36:42can probably do the more iteration for the religious content as well as for the creative from the europe
00:36:49uh europe perspective i mean you guys said very rightly uh the recipients are like really high
00:36:56i mean in the region uh people have more choices uh to see i mean they are more towards their
00:37:03own content
00:37:03they need something which is aligning with their own uh interest uh the other one that you mentioned india
00:37:10i mean we have a europe in india itself i mean we have different languages uh different regions people are
00:37:18talking uh in different languages into different regions so our story is different uh within india
00:37:24i think we have a premium model is more popular as of now uh subscription are coming in the way
00:37:31uh people have been testing uh but in comparing to europe i mean our audiences are very different
00:37:39i mean we are more open to see uh the best cultures as well uh we have different languages uh
00:37:45english is
00:37:46one of the main language i mean most of the people do understand uh specifically to like the major
00:37:53cities uh and and localized content uh from english or any other language is also accepted for example
00:38:00k drama became very hit even uh before the micro drama came into picture in india so we are more
00:38:07welcoming uh towards the global content so i think it is one of the market and being uh the most
00:38:13populated
00:38:13country uh in the world uh in the world uh when i think 60 percent people are young and everyone
00:38:19has
00:38:19the headphones and i think it's a huge market to discover and and players within india itself uh they
00:38:27are just trying india uh first so i think this is this is my take on it thank you yeah
00:38:35thanks a lot
00:38:36unfortunately we have some uh comments that it is hard to hear you pankaj so if you can
00:38:42your change maybe your uh microphone for uh the next questions here that will be very very cool
00:38:49so and uh i also have another question just for everybody who is with us today on the panel
00:38:56uh so i believe we have some viewers today on our um meeting that are also planning to enter the
00:39:04market
00:39:04of short drama so uh if you could give just one piece of advice uh to a short drama company
00:39:11trying to
00:39:11succeed in the next stage of the industry so what would it be so who would like to start
00:39:21okay if you want yeah please
00:39:26okay my main advice is simple is simple do not just copy what work elsewhere um innovate take
00:39:37risk and build your own identity i would also like to see more cooperation between french european and
00:39:46chinese professionals local adaptation is essential good ideas must fit local cultures and the audience
00:39:55expectations we need strong stories and memorable characters technology will also play an important
00:40:04role artificial intelligence will help reduce costs and improve some production
00:40:11processes but technology should remain a tool that saves creativity viewers still respond strongly to
00:40:20the dramatic or comic journeys of real actors they can relate to
00:40:25um when we move toward a generated animation we enter a different space it becomes more about imagination and fantasy
00:40:37it is a different experience
00:40:40we should not lose touch with viewers who are looking for empathy empathy i don't know what you say
00:40:49but and and and and who remain fascinated by humans performance audience connect with first emotion
00:41:00audience connect first with emotions sorry we can see this in the festival across france there is a real attachment
00:41:09for actors
00:41:10people identify with them and admire them or as real individuals
00:41:17in in in my opinion that remains the most valuable assets in the entertainment industry thank you very much
00:41:27thank you thank you um yeah i believe it was a very very good advice so and who would like
00:41:34to continue
00:41:35yeah uh so i would like to share my thoughts around the same uh like this is something most of
00:41:42the people is asking me
00:41:43also like when i was and starting my own company and uh coming out from a company which is already
00:41:48established and uh
00:41:49doing really well in micro drama space the same question i always had in my mind as well
00:41:54so one thing which i found myself is that
00:41:57uh even though the micro drama platforms are evolving there are thousands of drama platforms out there
00:42:02there is a still a high number of scope to explore further because
00:42:06uh right now the major problem all these platforms is facing retention user retention because they can
00:42:13easily acquire user uh while just a couple of ads they can acquire the users maybe user might pay for
00:42:18the content as well but retaining the users will be a hard bottleneck for anyone even netflix also face the
00:42:24same kind of a problem in their early stage and they fix that with the habit creation because the ott
00:42:31consumption is a new habit for anyone out there at the time and the same thing is happening for micro
00:42:36drama as
00:42:36well when we uh like when we forcefully put a habit to a person they won't adapt it but right
00:42:43now the
00:42:43habit creation is already happening with the various platforms coming to the market then they are
00:42:48creating new content and bringing user to the platform so if anyone is newly wanted to enter this
00:42:54space they need to bring something new to the users which is i would say some some kind of points
00:43:00out there is already in discussion and development for a lot of platforms which is gamification or the
00:43:05interactive storytelling which is also highly adapting to by various platforms for an example
00:43:11drama waves out there so drama wave is a platform which is actually right now rapidly scaling comparing
00:43:17with real short or net shorts because they introduce something new to the market with aa and their
00:43:22highly talented gamification method which is driven by their parent company kunlun tech which most of
00:43:28you know that because they are the one who developed opera professors so they know how this interactive
00:43:33storytelling can be done properly with the gamification so that is where the new change happening for the
00:43:39industry as well so if you wanted to capture the market and if you wanted to capture the user especially
00:43:45who can retain your platform for longer time go for the content which will uh plays a crucial role to
00:43:52retain the user for a long form uh long form like i would say long term validity with the uh
00:43:58your product or
00:43:59whichever you're developing so that is where the change will happen i would i am personally thinking
00:44:04that the retention is a major major bottleneck which if you're able to crack you will be able to succeed
00:44:10in the highly competitive industry as well yeah thanks a lot so ilhan what do you think
00:44:17uh i definitely agree sanuf and guillem at most of the parts uh but what guillem said and underlined it
00:44:27was that don't copy uh other working content and create your original ideas um i would like to say that
00:44:38at the same time i believe the platforms while building a new industry it needs a new system as well
00:44:45and a more improved system as well so like amazon prime netflix uh disney has an established producer
00:44:54system that has been working for the past 10-15 years and in this 10 years that uh this established
00:45:03producer system that they worked with their own established producers and did produce series with
00:45:10them and even though netflix is defining themselves as a data company there is um very lacking of uh
00:45:21feedback when it returns to the producers so i believe the the biggest um the biggest opportunity
00:45:31in short drama is that the feedback loop is very short that's why in the first question i said direct
00:45:39distribution in order to shorten the feedback loop of the series that are being produced um so the both
00:45:49i i believe the platforms need to give more data back to the producers uh in order to create more
00:45:58series that are more engaging and retention booking so um instead of copying the same system of the
00:46:07traditional otg platforms short drama platforms short drama platforms needs to shorten the feedback loop and
00:46:13share the the feedbacks with the producers as well and create new testing grounds so um my piece of advice
00:46:23would be to have uh for both the producers and uh people that is going to develop their own platforms
00:46:33uh that um to create um to create a shorter feedback loop and create a better relationship with the producers
00:46:42and the
00:46:42platforms uh and see that every film in the app is a sub product might drive a spike in retention
00:46:51every time they release a content and it's very important to analyze it with the producer uh after it's being
00:47:02released
00:47:03and starting on a new project uh and starting on a new project uh and for sure as a classic
00:47:09answer
00:47:10uh sustainable team building both in operations and creative finding good stories
00:47:17and teams that could build the world in an efficient way
00:47:24yeah thanks a lot and uh pankaj so what do you think what would be your advice
00:47:30sure uh i mean i was listening to all of these guys and i believe that now i have more
00:47:37advices
00:47:37and probably i can discuss with our clients uh so from our perspective i mean we are we are more
00:47:44focused on on uh user acquisition and the creative aspects to it uh though we totally understand uh the
00:47:51retention should be i mean priority for most of the apps now because we have we have gone past that
00:47:58phase
00:47:58wherein we were thinking that whether or not this format will work we all know and we have seen and
00:48:04we are all excited because a lot of big players uh when even some big uh uh movie uh production
00:48:12houses
00:48:12are also uh jumping into this field so we we all know that okay this is here to stay uh
00:48:18from the
00:48:19creative perspective i mean we can have some suggestions probably uh because most of the
00:48:25creatives are now uh the videos uh of course it is to make awareness in the audiences that what is
00:48:33there for you to watch uh people have a gist but along with this i mean as sanup said there
00:48:40has to be
00:48:40some more engaging content wherein people can uh feel more personalized message for them so probably
00:48:49uh a combination of uh user generated content along with maybe some pgc probably uh maybe they can use
00:48:59uh some influencer uh watching an episode and kind of create a hook wherein they both like one or two
00:49:09influencers are talking and talking about the show and uh then they can create a kind of urgency wherein
00:49:16people can actually see what they have been talking about so this kind of creative element i think we
00:49:22will look forward uh and going to increase its volume some uh advertisers or some apps have already
00:49:31tested it and we have recently seen it is working for them so i think on the creative aspects uh
00:49:38people
00:49:38may or may not see only the first episode as a hook and we will have more creative ways to
00:49:45uh have people
00:49:46engaged uh into the app so this is what i believe that people should also uh iterate in their uh
00:49:53upcoming
00:49:54campaigns yeah i completely agree with you here and i will also give just one piece of advice here
00:50:02because for every app founder at uh short drama world it is very very important to
00:50:10be very well founded with smart capital and here just don't forget that bravo can help you here with
00:50:16user acquisition financing uh with structured credit lines and etc because i do believe that uh producing new
00:50:23content requires a lot of resources not only like creative resources human resources but only
00:50:29but also the capital resources um so i see that we have a lot of questions here and i would
00:50:35be very very
00:50:36happy to uh to go to our chat and i also encourage everybody to be more active in terms of
00:50:44asking the
00:50:45questions for uh our experts so first of all uh yeah so there is a question from iran uh he
00:50:55says that some
00:50:56say that micro drama market will be like tv with few leading platforms others say that it will be like
00:51:03gaming
00:51:03many platforms so what do you actually see like what do you actually think
00:51:10uh i guess i already answered that question from my end it's a mix of it's need to be more
00:51:16uh
00:51:16gamified or interactive storytelling in the upcoming uh like uh days i would i am personally
00:51:23looking forward that because the content is already repeating again and again so people
00:51:28might prefer a storytelling in a way like they wanted to do so that kind of interactive storytelling
00:51:34might be in a new option i'm thinking in a way how micro drama will evolve from my uh point
00:51:39perspective
00:51:42so maybe somebody else wants also wants to dwell here
00:51:48yeah um i think um the tech companies need to um adapt more of uh the media company understanding
00:52:02in order to differentiate this and have more sustainable growth uh in the future and um we do have a
00:52:11term
00:52:11that we use that we use hyper casual streaming um for a short drama and which is
00:52:21mainly that to differentiate the the the mobile gaming industry and the short drama uh market right now
00:52:31is that um instead of um instead of uh being in an office and developing uh through the computers
00:52:41sometimes these app companies and tech companies needs to go out and experience uh live action shoot
00:52:51film sets at the same time in order to more understand how the perspective how this production
00:52:59is being made because sometimes when it comes to bug fixing or uh in technical development
00:53:07um you may add three or four more people in order to uh create more efficiency in a shorter time
00:53:17but uh when it comes to film sets if you add two or three more people sometimes uh might uh
00:53:24lower
00:53:34the internet was a little bit lacking but yeah it's better now okay i almost finished my answer so
00:53:44okay yeah thanks a lot so does anybody else want to dwell here or we can move forward to the
00:53:52next
00:53:52question okay so here so let's move forward so uh also salomi says that uh the majority of industry is
00:54:03surviving on auto pay mode so what are your thoughts on this so i guess uh he might have comparing
00:54:12with the
00:54:13indian market because the auto pace of future which is actually quite uh discussed in indian market
00:54:18uh it's not entirely true because auto pay is already available in major otg platforms as well
00:54:24when you are entering your card details monthly basis the amount will be debited it's a business model
00:54:29which is not even uh like a dark pattern i would say uh entirely the platforms are adapting but there
00:54:35are a lot of things happening across micro drama also which is a scam apps are getting developed by various
00:54:40players and they are using the content of other top players to take money off the people so this is
00:54:46something which is happening but most of the times right now this habit creation is once established
00:54:52people will pay for the content so the pay-per-view kind of a model is also working across the
00:54:56globe
00:54:57which is like very evident that not just auto pay people are paying for the content so i'm disagreeing
00:55:03with that opinion like a entire industry is developing and exploring a lot of new options as well
00:55:10um okay so does anybody else want to speak about auto play since it is like very um i think
00:55:20please
00:55:23i'm sorry okay so since it is very like uh yes indianized so auto pay like we have we have
00:55:29seen uh
00:55:30uh uh in the last uh few years like we we have we all have been uh putting our credit
00:55:36cards onto
00:55:36different uh apps and we are quite comfortable it about it uh but most of the micro drama apps i
00:55:44think
00:55:44they are promoting micro transactions i mean this is kind of liberty uh to one user i mean you don't
00:55:50have
00:55:51to uh be with us for a long time even if you just watch one series uh so i think
00:55:56it is one of the
00:55:57really healthy way to make a habit and once they build the habit they build the trust on your app
00:56:05they will like the content probably i mean they would not hesitate to go for a longer term so i
00:56:10think
00:56:11it is best to start with the micro transaction and have them their own space wherein they actually build
00:56:18the trust as well as interest in an app and probably then you have the more long-term user already
00:56:27yeah definitely i think subscription will be the future because we can see cinema movies and a short
00:56:37drama in the metro metropolitan and i think in occident when you have a big platform like netflix or amazon
00:56:48prime
00:56:49um coming in um coming in uh dionju format he can propose to subscribe uh subscription the dionju format i
00:57:00think the future is a subscription i just what i want to say yeah thanks um i i i believe
00:57:10there's a couple
00:57:11different solutions to this problem uh focusing on different uh revenue funnels uh like brand partnerships
00:57:21uh uh product placements inside the series because actually these are like uh being produced between
00:57:30the budgets of like 150k to 250k and it's sometimes uh like two or three commercials to be shot
00:57:40for like 20 seconds which you get a content of 80 minutes for the same cost uh so it's very
00:57:48beneficial
00:57:48for the brands at the same time uh real short did a couple um tries on having uh brand placements
00:57:58uh on their series uh but it's not more than five until right now um so and there's web streaming
00:58:06there's
00:58:06ad revenue there's subscription revenue there's micromonetizations and at the same time we've been
00:58:12producing multi-format series that we are delivering uh episodic vertical ones episodic horizontal ones and
00:58:20one 80 to 90 minutes uh horizontal copy for tv watching as well or other to be streamed on other
00:58:28platforms so content needs to be monetized from different revenue funnels so that it shouldn't
00:58:36depend on one revenue or like revenue model or a monetization strategy
00:58:42mm-hmm yeah thanks a lot um yeah and we have two more questions so let's be quite quick here
00:58:50uh we have a question about which direction the content is moving in so um are we seeing more
00:58:57regional stories or are we following the chinese micro drama playbook where language is not the main
00:59:02barrier and visual storytelling becomes the biggest hook so who would like to answer this one
00:59:12uh i can go um i i will i believe the content is groving across a multilingual uh short drama
00:59:25content
00:59:26not just uh uh the american ones or the chinese ones but series that the actors have different accents and
00:59:36different languages we see that emily in paris is a very big success on netflix and at the same time
00:59:44squid game is a very big success on traditional ott platforms the short drama has a uh i i think
00:59:52there's a
00:59:52larger playground to have multilingual uh productions and series
01:00:02so and we have one last question that goes uh directly to sanuf uh so rohit is uh interested would
01:00:12um
01:00:13um what's a new things about hyperlocal original content for the indian audience uh focusing on
01:00:20dialects can make uh can give a new flavor to be to the viewing experience but the bottleneck is the
01:00:27term is going to be smaller so how would you elaborate here
01:00:32so i guess uh it's already explored by a lot of new players right now like they are trying out
01:00:38with
01:00:38the dialect and regional based content and mix of cultures also people are trying as pankaj mentioned
01:00:45india is a europe itself like basically because wide variety of uh like regional contexts are there
01:00:51languages are there so there are a lot of like uh experiments going on where like north indian uh like
01:00:58families coming to south india and they're exploring the culture kind of a format content is there so
01:01:03this is universally accepted thing and dialect or any other terms won't be playing any role unless the
01:01:09screenplay is very tight and it's having a lot of emotional connecting factors in it in it it's a very
01:01:16proven thing even uh we know like rocky as a series which is widely people consumed across the globe
01:01:22even though silversus challenge accent is little italian it's it won't be a matter even the people
01:01:27dialects or anything i personally prefer that the ultimate player will be dominating the market with
01:01:34the proper content strategy like how netflix created that buzz uh even uh squid game is itself is
01:01:41universally appealed to everyone because it has the elements which we all know even the culture
01:01:46leads different that elements is still there so that kind of elements need to be injected like
01:01:50focusing on career focusing on family relationship or focusing on tragedies and people overcoming it
01:01:57and new format also need to be explored a lot because as i think pangaj is mentioned that as well
01:02:01there are now creators itself posting micro dramas in on their youtube or instagram channels so people
01:02:08are eagerly waiting for the next episodes and they're exploring crime thriller and other areas as well
01:02:14so which will be also explored by micro drama players i i'm strongly believing in that as well
01:02:19um so yeah and rohit also uh asks are you saying that time won't be contained because the dialect curation
01:02:28alone yeah uh like as i mentioned time won't be a problem because everybody wanted to consume new
01:02:34variety of content it won't be a specifically to any uh particular time unless you are making a content which
01:02:41is into like a very narrowly targeting a set of users only the content right now every writer or
01:02:50every producer is focusing how to become this content as a universal content so that's where the uh
01:02:55writing play a crucial role if you're writing a content properly which will appeal for everyone
01:03:00but the dialect or the the main character is coming from maybe turkey or maybe coming from france or
01:03:06anywhere it won't be matter the connectivity is a matter of fact i would say okay okay so uh yeah
01:03:15so it's very very interesting and i suppose it was quite insightful for the whole audience we're already
01:03:21running late so uh i believe it is time for us to say big thanks to everybody who participated
01:03:29especially to our brilliant speakers to everybody who watched i do believe like we are shared all the
01:03:36important information for you to build like the new chapter uh offshore drama industry so if you have
01:03:42any more questions i and like i believe everybody from uh the speaker's side will be very happy to
01:03:49answer uh on linkedin or just anywhere where it is convenient for you so yeah thanks a lot
01:03:56thank you thank you thank you thank you bye bye bye bye bye
01:04:06you
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