In an era when users are king, Orange Sky Jiahe creates a "new concept" film and television service industry chain

On October 27, Orange Sky Golden Harvest Entertainment Group teamed up with Een to conduct a survey on core movie-watching users in China's film market, and officially released the "2015 China Cinema User Energy White Paper" at the China Cultural Innovation Summit

During the summer of 2015, we realized the power of "tap water"-"Return of the Great Sage" became the best-selling animated film in China with a score of 956 million yuan. While industry insiders are still discussing the well-made film, Orange Sky Golden Harvest has turned its attention from the content of the film to the inner fluctuations of China movie-watching users. On the 6th day of the film's release, Orange Sky Jiahe boldly launched the "100% Film Arrangement to Protect the Return of the Great Sage" campaign in response to the explosion of user energy behind the film.

In an era when users are king, Orange Sky Jiahe creates a "new concept" film and television service industry chain

. On October 27, Orange Sky Jiahe Entertainment Group teamed up with Een to conduct a survey on core movie-watching users in China film market, and officially released the "2015 China Cinema User Energy White Paper"(hereinafter referred to as the "User Energy White Paper") at the China Entertainment Innovation Summit, launching Orange Sky Jiahe's "new concept" studio strategy. Orange Sky Jiahe proposed that China's film industry has entered an era where "users are king."

Zhang Wei, vice president of Orange Sky Golden Harvest, said that in the past,"users are king" was only the goal of industry services and development. However, the market is currently unprecedentedly active, film and television products and services are diverse and rich. User preferences are becoming the vane of industry development and have an impact on the market. Unprecedented influence-the China film industry has entered a true era of "users are king".

User energy has become an important factor in determining the success or failure of films

. In recent years, large-scale films have repeatedly stimulated marketing and word-of-mouth waves in the China film market. However, since the summer of 2015, many domestically produced medium-and low-investment films, such as "Return of the Great Sage","Pancake Man","Charlotte Worry", etc., have won audience recognition in terms of box office and reputation. This is an intuitive manifestation of the explosion of energy among China's theater users.

It can be seen from the data of this "User Energy White Paper" research report that China's theater users are becoming an important factor in determining the success or failure of movies. User energy has deeply influenced the entire industry chain of China films such as creation, marketing, and theater operations.

The scale of cinema users in China has expanded, and the consumption power is strong. The

number of movie-goers in China's cinemas

has increased so far, the number of movie-goers in China has exceeded 1 billion in 2015, a year-on-year increase of 44.1%, and may reach 1.2 billion by the end of the year. The post-80s and 1990s generation has become the backbone of cinema users in China, accounting for about 70%. Young and emerging people with strong income potential and consumption power are becoming the core group of cinema users in China.

Word-of-mouth evaluation drives movie viewing, and theaters are evolving into full-time social platforms

. China theater users choose movie viewing time.

With the full circulation of information, word-of-mouth evaluation ranks the second most important factor for cinema users in China before watching movies. After entering the theater, the time limit, price, and seating order will continue to determine the final movie viewing decision. The report shows that the traditional habit of watching movies on weekends is gradually changing, with 69.7% of users saying that if there are preferential activities during working hours, they will choose to go to watch movies. The proportion of non-single people who go to the theater to watch movies exceeds 90%, and 82.8% of users watch movies at least once a month or more. Traditional theaters are evolving into full-time social platforms.

Online seat selection is the mainstream, and cinema apps rely on practical functions and promotional advantages to break through

the factors of selecting installation and using cinema apps.

China cinema users have become mainstream through online seat selection and online ticket purchase. The survey shows that 65.1% of users use mobile terminals to select seats online and purchase movie tickets. While major online ticketing platforms and Internet giants are deploying mobile ticketing services, research shows that 75.8% of China cinema users have installed cinema apps, and 54.2% of users install them on the premise of word-of-mouth recommendation. The frequency of use is high, and the cinema APP is most valued for its multiple functions and discounts. As terminal service providers, cinemas are faced with huge market space. We need to think more about how to combine them with theater services to better meet users 'changing movie-viewing needs, comparable to mature online seat selection software.

Cinema services, a killer in improving user satisfaction

. A cinema operation system satisfaction research

report shows that 46% of theater users are satisfied with the screen image and presentation effect. The overall equipment level of China's cinemas basically meets the needs of audiences. However, it is worth noting that user satisfaction with theater services is generally lower than 25%, and satisfaction with various value-added services shows a two-level divergence trend. At present, the most sensitive aspects of user experiences are mainly focused on "wearing comfort of 3D glasses" and "theater hygiene/environmental cleaning". Supporting services such as parking services, sales of surrounding products, and good working attitudes of staff have become potential factors for cinemas to drain and improve satisfaction.

The core driving factor of discount fares and exclusive benefits drives members to convert

theater audiences to apply for membership cards

is that 92.8% of member audiences watch movies at least once a month, which is about 28% higher than that of ordinary users. Nearly 40% of members watch movies 2-3 times a month, making them a high-quality group among studio users. Data mining of member users will help studios understand user portraits, formulate targeted institutional preferential strategies, and improve theater operation efficiency.

The student group is currently one of the main groups of theater users, and is also active in offline activities and self-media communication. 83.8% of students will share after participating in film promotion activities, mainly concentrated on self-media sharing such as QQ, WeChat, and Weibo., triggering secondary dissemination of information.

In the upcoming era when users are king, how will practitioners better meet users 'all-round movie social needs? Orange Sky Jiahe Studios pioneered the "LIFE SPACE·New Concept" strategy, which was combined with the Group's comprehensive film, television and entertainment industry chain development plan. Orange Sky Jiahe will establish the first batch of 8-10 new concept studio flagship stores in first-tier cities in China to innovate and transform the energy of China cinema users and inject sustained impetus into the development of China's film industry.

Users are king, tailor-made "new concept" cinema flagship store in

Mission Hills, Shenzhen, renderings of Orange Sky Jiahe Studios

In the era of "users are king", Orange Sky Jiahe will move to weaken the concept of "cinema" and create a way for consumers to enjoy the weekend. LIFE SPACE.

Orange Sky Jiahe positions the "new concept" theater as a "comprehensive leisure experience space for movies"-by integrating and utilizing the theater space, adding customized services to traditional theaters, and turning the theater into a "LIFE SPACE" that integrates fashion, light and shadow, leisure and other elements. Here, people can stay longer with their families, relatives and friends before and after watching the movie to experience diverse leisure and entertainment services to meet users 'comprehensive leisure needs.

Starting from first-tier cities,"new concept" cinemas will be gradually applied to movie studios across Orange Sky Golden Harvest, redefining "cinema services". Orange Sky Jiahe LIFE SPACE provides consumers with not only a movie, but also an opportunity to easily interact with their families, a space. From the end of 2015 to the beginning of 2016, Orange Sky Golden Harvest will be the first to launch two pilot theaters in Shenzhen and Beijing. Taking this as an opportunity to break through the current development pattern of traditional cinemas, the new concept cinema will become an important link in the Orange Sky Jiahe comprehensive film and television entertainment industry chain.

Stimulate industrial potential and build an Asian film, television and entertainment complex.

For current mainstream film and television organizations, their in-depth development still needs to rely on the continuous driving force brought by the integration of industrial chains. As a comprehensive film and television entertainment group, Orange Sky Golden Harvest has become the most powerful film industry chain integrator in Asia after years of operation. Its business scope covers film and television entertainment such as creative writing and screenwriting, film and television production and financing, artist brokerage, chain theaters and Shenzhen cinema lines. The entire industry chain.

Perspective determines the future. Orange Sky Golden Harvest Entertainment Group, formerly known as Golden Harvest, is not only the first Chinese film production company to successfully enter Hollywood, but also took the lead in deploying the Asian market, operating a total of 93 theaters and nearly 700 screens. This time, Orange Sky Jiahe once again took the lead, adhering to the "user is king" concept and using the "new concept" cinema model to transform user energy into a source of innovation and development for traditional cinemas, exploring new directions for the sustainable development of the industry.

Editor: yvonne