After profiting from >the trend of online st udents for two years, Koala Entertainment began to  enter the female population and do some "slow" content

Since 2014, the term "big online movies" ha★s gradually caught people's attention. At that time, there were stories> of hundreds of thousands of production costs w inning millions of box office, and Koala Entertainment entered t∏he market during that wild era  of online content.

In an interview with 36Kr, Qian Wei, the founder of Koala Entertainment, admi®tted that they have made a lot of money by taking advantage of the past situa✔tion. "We had a film that cost 80000 yuan, and in the eΩnd, we recovered over a→ million yuan at the box office." In the past two years, they✔ have been able to m₽ake an average of more tha≠n 20 major movies per year, ranking among the top 10 in' revenue on major video websites. You can easily find several films produεced by Koala, which has also accumulated a lot of channel resources fo&r them.

But as time entered this year, the online film♣ market began to reshuffle. Last year, the total number of oveβr 600 films in the market suddenly surged to overα 2000, and the era of mass production has passed. You☆ will find that the production costs of to↔p ranked online films are basically over a million yuan,♠ reaching the level of second and third §tier cinemas.

The recently launche¶d Golden Casino series

After the market dividend peri od passed, Koala Entertainment began their new layout this year: targeti≤ng the female market and creating high-quality online content for student₩s. "This was actually planned before, and shufflγing is certain." Qian Wei said that they didn't releas✔e many films in the first hΩalf of this year, and were all preparing for future "slow" content.

Koala Entertainment's first change is the  IP incubation method. They have formed≤ a comic team, positioning th emselves as long story world ©view works with a serializati≈on time of more than three years. After these works have been €verified by the market, they gra₩dually launch corresponding derivative content suεch as web dramas and big movies.

In the first half of the yea"r, Qian Wei's work "Need for True Youth", which verified this mo$del, has gained over 350 million popularity with 52 consecuσtive episodes. The b★ig movie of the same na€me has also started filming, and "δroot fans have given very g↕ood feedback on this approach." Qian Wei said that in the future, t≤op women in his family will release works in this model, do IP amplific ation, and then develop derivative games. They have also reached< cooperation with some game and film companies.

While starting to plan long-term IPs,ε Koala Entertainment¥ is also building its↕ own channels. "Just like the  mobile game trend back then, the channels will become more an♦d more dominant after the reshuffle, and CP's voice will decrease." Qian Wei sa♥id that this is also planning for βthe future, not letting ®himself be completely constrained by the platform.↕ Now, Koala's approach is to create PGC li$ve streaming content for women.

At present, they have inte☆grated into WeChat mini programs and independently developed a PGC live str¥eaming channel. They hπave collaborated with some women to launch customized live streaming conteσnt to meet the upgrading needs of these §large accounts from graphic and textual content to video contentδ, while accumulating traffic in the vertical field, preparing Ωfor future female oriented comics and γonline content. This channel is still under testing and only broadcasts live ↓at 8 pm every night, with aφn average online audience of around a few thousand.

"The feedback from the official account t€hat we have cooperated with is OK,λ and we hope to turn it into a live female channel all day in the future♣." Qian Wei said that this platform does not need to be very bi₩g, and the purpose is to form an interna∑l cycle of IP incubation, channel promotioαn and realization. O•f course, building their own channels does not mean that Koala will gi©ve up platform chann♥els. The several works they produce next have deep cooperation with the p​latform.

After determining the new content incubaφtion and channel promotion model, Q ian Wei stated that they have also upgraded their co✔re online content production. Now, Koala has also adopted a screen₹writer and producer core system in production, and a> large number of works released in ≠the past are actually talent screening. "For example, directors who cannoδt adapt to this model have been eliminated by us." Qian↕ Wei said that out of the dozens of directors they co¶llaborated with, they only left two.

In the future, Koala Entertainm₽ent will advance at the pace of about 10 major online movies per year. Part of ∏it will focus on women's slow content dri>ven by comics and monetize long-term IP, while the other part↕ will ensure Koala brand activity and create fl↓owing market oriented content.

In terms of team, Qian Wei comes from an investor backgroun d and has served as the Director of Investment at Chu€angdong and the foun≈der of Huanyu Interactive Media. Responsible for the overall layout of the com∑pany and the planning of original film a©nd television content, with two other partners in charge of comics and live s<treaming. Manga partner Fu Tao has previously served as the produce≤r of Xishanju Games.

They have previously obtained ten™s of millions of Series A financing from Heyi  Capital and Chuangdong Investment, and are ×currently preparing for Series A+.