The value of large data

At the recent Shanghai International Film Festival, Yu Dong, president of Poly Boehner, has been widely discussed in the industry for "future film companies will be working for bat (ie, internet media Baidu, Alibaba and Tencent)". This year's Beijing International Film Festival first launched the M index, that is, the use of large data analysis principles, the cinema line, the new media coverage, television ratings and other data collection analysis, judging which is the audience's heart really good movies. The new focus of Chinese-language film, which was newly added to the Beijing Film Festival, also used large data technology for the first time to select five of the most focused people. Thus, the large data technology based on new media has been paid attention to by the forward-looking industry elites and has been put into application. However, while some pioneers have taken the initiative to enter large data, another group of practitioners believe that too much emphasis on the role of large data is not conducive to the development of the film industry. The CEO of DreamWorks, for example, Jeffrey Kassenberg strongly against the big data involved in filmmaking. He says the Dream Factory movie is not from the data, but from the heart. Zhang, the CEO of LE-Vision, also believes that if we use data to make movies too early for commercial purposes, we will miss a Chinese film renaissance. Which point is more reasonable and worth exploring.

All along, the Chinese film industry lacks the effective data statistics on the box office income, the audience structure and the derivative development, which results in the lack of data support, and the accuracy and reliability of the project evaluation are greatly weakened. The application of large data can provide quantifiable index for film investment, the regularity of data and the feasibility prediction of the project, can evade the investment risk of empiricism effectively. Large data can help the film industry to market positioning, so that the industry has targeted publicity and promotion, the launch of commercial advertising market preheating, the initiation of topic discussions and user participation. We can also predict industrial income and social impact through continuous quantitative tracking of large data. For example, Pinkerton Media has long applied data analysis to all aspects of the TV drama industry chain, making the industry development more targeted. The acquisition of Pinkerton Media last year was largely a measure of the vast data resources that Pinkerton had.

New media intervention in the film industry, so that cross-screen communication to achieve seamless docking, but also make the film more to take care of the internet, mobile phones and other mobile terminals of audio-visual appeal, and further expansion of the number of audiences and market selling points. The introduction of network television, the large screen of the Internet, video on demand, content customization and special launch of the digital set-top box for integrated sales. Digital TV and network media grafting, so that the digital set-top box "loop data" is accurately extracted. Compared with the traditional ratings survey, these large and timely data contains more information, more accurate, the resulting ratings and attendance assessment is more rigorous, scientific and practical. However, the current domestic film and television industry more than just master the idea of large data, and the large data technology and the actual operation of the process is not very understanding. Therefore, to build a large data platform based on the Internet, through multi-channel, multiple terminals of interconnection, for investment, creation, distribution, sales and other industrial chain links to provide technical support and service security, is to put large data technology into application must be implemented in the basic engineering.

So, how does the big data apply to the film and television creation? American video web site Netflix uses large data technology to assess audience tastes to select the creation team of the American play "Solitaire", so that its popular stories are widely circulated in media circles and even become "data-king" for some practitioners. This subversive concept is a powerful reality. However, we found that although the creation of the "card House" and broadcast mode is based on the data analysis of 30 million users, but the artist's artistic standards can not be ignored. The play on the United States political, economic, cultural and social life of the interpretation of exquisite in place, drama plot structure, clip rhythm and performance skills are rated first-class. Another famous case of large data, "small Time", its original in the network of high clicks and large data show the audience's composition and consumption habits, directly contributed to the film from investment, filming to release the entire industrial chain formation. However, the lack of belief and the disorder of values and the level of poor creation in the works are in great contrast to the box office income. These two examples tell us: full of rational, relatively rigorous data thinking can provide a creative mode and pipelining of business operation, but it is not a substitute for artistic ideas in the flash and express feelings. The artistic creation that relies too much on data thinking is apt to fall into the rut of pandering, pleasing and even flattering the audience, and lacks the necessary artistic guidance and spiritual climbing. Therefore, in the age of large data, data thinking can be used as reference information of artistic thought. In the art creation, we can glimpse the social thought, the cultural gene and the popular element from the massive information of the large data, touch the spiritual needs and life expectation of the contemporary people, then take these data information as the creator's material, nourishment and corroboration. But the data thinking is not the realization way of artistic creation, can not solve the problem of shooting idea, script creation, performance level and 3D technology application. In other words, large data can make strategic planning and tactical guidance for the investment direction of the film, but it can not replace the specific "combat" art creator. Therefore, the big data for artistic creation of the involvement should be how deep, or is a questionable question. I think that in the face of large data, we should neither superstition nor exclusion, to use a dialectical approach and the development of the vision to see it.