After taking advantage of the trend of online students and making fast mon<ey for two years, Koala Entertainment began to engage ✘in some "slow" content for women

Since 2014, the term 'big online movies' has gradually en♠tered people's attention, with stories that cost $hundreds of thousand±s of dollars to produce and earn millions of box office receipts all over the ∑place. Koala Entertainment entered the πmarket during that wild era of o☆nline content.

In an interview with 36 Krypton, Qian Wei, the founder of Koal☆a Entertainment, admitted that they had made a lot of money by taking adva>ntage of the past situation. "We had a f☆ilm that cost 80000 yuan and ultimately recovered over a mil←lion yuan at the box office." Over the past two years, they have  been able to make an average of over <20 major movies per year, ranking among ∏the top 10 revenue rankings on major video websites. You£ can easily find several films produced by Ko¥ala, which has also accumulated a lot <of channel resources for them.

But as time entered this year, the online big film market began to sh£uffle. Last year, over 600 films in÷ the entire market suddenly →surged to over 2000, and the era of "four, two,€ and a thousand pounds" has passed. You will× find that the production costs o↑f the top ranked online big films are basically over one€ million, reaching the level of second and third tier cinemas.

The recently launched Golden Casino series

After the market dividend period passed, Koala Entertainment began thei↕r new layout this year: targeting the female market and cre ating high-quality onlin✘e content. This was actually planned before, shuffling is certa in, "Qian Wei said. They basically di↓dn't release much films in the first half of this year, and were prepa£ring for future" slow "content.

The first change for Koala Entertainment is the IP incubation method. They÷ have formed a manga team, positioned as a long worldview work that has be✘en serialized for more than three✔ years. After these works have been verified in the ma↑rket, they gradually launch corresponding derivative c ontent such as online dramas and big m ovies.

In the first half of the year, the work ε"Ultimate Xiuzhen Youth"₹, which verified this model, has a popularity of over 350 millio​n with 52 consecutive episodes. The big movie of the same name h✔as also started filming, and "root fans have given ve↓ry good feedback on this approach." Qian Wei said that in σthe future, top women in their ow♠n family will release works in this mode, do IP amplificat'ion, and then do derivative ga≈mes. They have also reached cooperation with some game and film co©mpanies.

While starting to plan long-term IPs, Koala Enter♥tainment is still building its own chanγnels. "Just like the mobile game trend back× then, the channels will become more φand more powerful after the reshuffle≈, and CP's voice will decrease." Qian Wei♦ said that this is also planning for the future, not letting himself∞ be completely constrained by the platform. Now, Koala's approach is to do fe®male oriented PGC live streaming content.

At present, they have connected to WeChat mini programs and independently ∏developed a PGC live streaming channel. They have collabo€rated with some women to launch customizπed live content to meet the upgradi'ng needs of these large size graphic and text content to video content, while a☆ccumulating traffic in the vertical field, preparing for future female orien∑ted comic and online content. Currently, th↕is channel is still under testing and only broadcas™ts live at 8pm every night, φwith an average online audience of around a few thousand.

"The feedback from the official account that we have cooperated ↑with is OK, and we hope to turn it into aπ live female channel all day in the future." Q>ian Wei said that this platform does¶ not need to be very big, and the puφrpose is to form an internal cycle of IP incu₩bation, channel promotion and realization. Of course, buildi♣ng their own channels does not mean∏ that Koalas have to give up pl≠atform channels. The next few works they produce have deep cooperat§ion with the platform.

After determining the n↔ew content incubation and channel promotion≤ model, Qian Wei stated that they have al​so upgraded their core online content production. Now, Koala has also adoπpted a screenwriter and producer core system in production, and a larΩge number of works released in the past are actually talentα screening. "For example, dire£ctors who cannot adapt to this model∑ have been eliminated by us." Qian Wei said that out of the dozens• of directors they collaborated with,' they only left two.

In the future, Koala Entertainment will advance at the pace of about 10 major  online movies per year. Part of it will focus on women≥'s slow content driven by comics an←d long-term IP monetization,® while the other part will ensure Koala ↑brand activity and create flowing market αoriented content.

In terms of the team, Qian Wei comes from an investor backgro♣und and has previously served as the Director of Chuangdong Investment and th‍e founder of Huanyu Inteεractive Media. Responsible for the overall £layout of the company and the planning of origi♥nal film and television content. In terms of comics and live streaαming, there are two other partners responsible. Co←mics partner Fu Tao once served as a game producer for Xishanju.

Previously, they had₽ already obtained tens of millions of ≈A-round financing from H∞eyi Capital and Chuangdon±g Investment, and are currently preparing for an A+round.