Author｜Song Wanxin

Edit｜Yang Jin

After exploring for a period of time, at the beginning of this year, Chen Ning’s company gave up the short drama business. The reasons behind it are complicated. He feels that since the skit has become an outlet, the market is still speculating on the concept, and no one has run through the commercialization path. This somewhat illustrates a certain problem.

If you trace the origin of the skit, you may have to start with “Unexpectedly” in 2013. At that time, Douyin had not yet been born, and Kuaishou had not been out of the circle. “Unexpectedly” is defined as a mini comedy, but from the perspective of the content of the series, “Unexpectedly” also has the characteristics of today’s “mini-short drama”: 15 episodes per season, 5 minutes per episode, compact plot , The net is full, the pain points and the laugh points are intensive.

The early short dramas were mainly played in the horizontal screen mode of UAT. In the past two years, with the development of short videos, the short dramas have naturally grown in the short video ecology.

According to the “2020 China Internet Audiovisual Development Research Report” released on October 12 last year, short video users have reached 818 million, and the average daily short video product use time is 110 minutes. When the short video traffic dividend is about to peak, the content mode of short dramas has become a new direction for platforms to compete for user duration.

From mid-2019 to the present, Chen Ning has felt the tremendous changes in the skit industry, “No matter whether it is the production system or the budget, it is no longer the same.” At the same time, after a period of barbaric growth, regulatory forces also began to intervene.

At the end of last year, the State Administration of Radio, Film and Television added the category of “Internet short dramas” to the key online film and television drama information filing system. This category stipulates that the web short drama is a web drama with a single episode of no more than 10 minutes. This means that the “micro short drama” has been named and qualitative, and the market has formed a larger scale and has been brought into supervision.

A few days ago, Kuaishou and Douyin have held short play press conferences, and each published their transcripts. Douyin said that during the “New Fan Project 1.0” period, 110 MCN agencies and more than 1,400 Douyin creators participated, and a total of short play works have been registered. There are more than 5,000 units. Kuaishou announced that more than 20,000 skits have been included, of which over 12.5 percent of the episodes are over 100 million. Kuaishou users watch more than 210 million skits per day, and the total user viewing time has reached 35 million hours.

Various dimensions of data are prosperous, but behind the data, the skit is still in the early stage of being “defined”. Whether the platform, producers, and actors can achieve unification of interests in this process determines how big the entire industry can ultimately be. .

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account splitting will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems that this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit on the floor and raise the price.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce, her GMV conversion of her e-commerce has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account sharing will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit down and raise prices.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account sharing will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit down and raise prices.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account sharing will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit down and raise prices.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

Produced｜Sohu Technology

Author｜Song Wanxin

Edit｜Yang Jin

After exploring for a period of time, at the beginning of this year, Chen Ning’s company gave up the short drama business. The reasons behind it are complicated. He feels that since the skit has become an outlet, the market is still speculating on the concept, and no one has run through the commercialization path. This somewhat illustrates a certain problem.

If you trace the origin of the skit, you may have to start with “Unexpectedly” in 2013. At that time, Douyin had not yet been born, and Kuaishou had not been out of the circle. “Unexpectedly” is defined as a mini comedy, but from the perspective of the content of the series, “Unexpectedly” also has the characteristics of today’s “mini-short drama”: 15 episodes per season, 5 minutes per episode, compact plot , The net is full, the pain points and the laugh points are intensive.

The early short dramas were mainly played in the horizontal screen mode of UAT. In the past two years, with the development of short videos, the short dramas have naturally grown in the short video ecology.

According to the “2020 China Internet Audiovisual Development Research Report” released on October 12 last year, short video users have reached 818 million, and the average daily short video product use time is 110 minutes. When the short video traffic dividend is about to peak, the content mode of short dramas has become a new direction for platforms to compete for user duration.

From mid-2019 to the present, Chen Ning has felt the tremendous changes in the skit industry, “No matter whether it is the production system or the budget, it is no longer the same.” At the same time, after a period of barbaric growth, regulatory forces also began to intervene.

At the end of last year, the State Administration of Radio, Film and Television added the category of “Internet short dramas” to the key online film and television drama information filing system. This category stipulates that the web short drama is a web drama with a single episode of no more than 10 minutes. This means that the “micro short drama” has been named and qualitative, and the market has formed a larger scale and has been brought into supervision.

A few days ago, Kuaishou and Douyin have held short play press conferences, and each published their transcripts. Douyin said that during the “New Fan Project 1.0” period, 110 MCN agencies and more than 1,400 Douyin creators participated, and a total of short play works have been registered. There are more than 5,000 units. Kuaishou announced that more than 20,000 skits have been included, of which over 12.5 percent of the episodes are over 100 million. Kuaishou users watch more than 210 million skits per day, and the total user viewing time has reached 35 million hours.

Various dimensions of data are prosperous, but behind the data, the skit is still in the early stage of being “defined”. Whether the platform, producers, and actors can achieve unification of interests in this process determines how big the entire industry can ultimately be. .

“Kaishou Little Theater” page

“I want it to fire, but I also want it not to fire”

The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it.

At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years.

Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see.

At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce.

First, let’s look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method.

Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content.

There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years.

Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account splitting will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.”

At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income.

The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem.

For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts.

However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas.

“Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.”

Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.”

From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them.

In addition to commercialization, film producers are also facing more and more difficulties in the production process.

The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large.

Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?”

Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems that this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit on the floor and raise the price.” Chen Ning said.

“Personal” business

The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show.

The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said.

Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.”

In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods.

This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits.

But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama.

In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.”

According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce.

In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage.

Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits.

Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry.

(At the request of the interviewee, Chen Ning is a pseudonym)

In addition to depending on the preferences of the homeowner, according to architect Vo The Duy (CTA | Creative Architects), homeowners need to pay attention to the following three factors: The first step is the selection of plant varieties Most urban houses are narrow tube townhouses, the area for the garden is also limited, so choose tree varieties with pile roots (the roots are not too massive, less horizontal growth affects the structure of the building). Plants often lose their leaves and many people, although they like nature, are afraid to sweep leaves because of their busy schedule. Meanwhile, sweeping leaves is also a tree care job, people who love taking care of trees, nature will love this job. However, when the homeowner does not have much time, it is still possible to grow houseplants with varieties of plants with few leaves or less falling or falling seasonally such as peach fairy, sesame buds, Taiwanese eagle … Depending on the preferences and nature of the project, homeowners can choose tree varieties for shade, fruit trees, beautiful flowering trees, shrubs, etc. Therefore, homeowners need to pay attention to coordinate for harmony, have parents. Reasonable arrangement, avoid planting too many varieties causing confusion and confusion. For example, a large tree with beautiful shape or beautiful flowers like star fruit and longan needs space and space to be able to exploit the beauty, avoid planting many varieties of trees that are crowded or obscured. The accompanying plants should be low trees, not too prominent in color or just gravel to clean the area below the tree. If you mix shrubs, you need to choose 3-4 varieties, don’t choose too many or you will get confused. Priority is given to varieties with beautiful leaves, larger size to make the main point, the rest are varieties with small leaves or different leaf shapes and colors to honor the main tree. Arrange trees and shrubs in Wall house (CTA|Creative Architects). The second is the planting location The location should be well-lit, ventilated and spaced enough to ensure the growth needs of the tree as well as a place with a good location. The planting locations are usually arranged in the front, backyard or atrium, skylight to meet the above requirements as well as increase the aesthetics of the building. In addition, for large plants, it is required to avoid positions such as beams and large beams because of structural safety factors. In addition, homeowners need to have techniques for planting planting holes to avoid the influence of tree roots on the construction. The requirements for waterproofing and drainage for the plant location also need to be considered when intending to grow plants indoors and need professional advice to ensure technical factors. Finally, homeowners need to pay attention to maintenance Trees need to be cared for and easily replaced if damaged or dead or the owner’s needs. Besides good drainage, the plant also needs to be watered and fertilized regularly. From maintenance requirements, the location of plants may have to be changed to suit reality. Homeowners should install a smart automatic irrigation system to reduce watering and bathing while still enjoying the lush nature in the house.

Nguyen Thanh Tu, also known as Tu Boo, is a fairly new rich girl in the rich children of Vietnam In addition to the beautiful beauty, the luxury of rich kid Tu Boo also makes many people overwhelmed. Recently, she also showed off her hobby of the epidemic season, which is flower arrangement of peonies bought by her husband. But the highlight that caught everyone’s attention was the strange flower vase, it turned out that she used a white Hermes Ostrich brand bag that costs hundreds of millions to make a flower arrangement. Sharing the reason for using bags to arrange flowers, this hot girl shared: “Translating at home to think of something to do for fun, just to see the flowers and see the bag without going out”. Compared to seniors in the rich kid world like Tieu Giang, Jolie Nguyen… Thanh Tu is a name discovered quite late. She over and over again makes netizens overwhelmed by her lavish life, luxurious travels as well as an uncountable collection of branded goods. Especially on his personal page, Tu Boo repeatedly shows off pictures of buying branded goods, constantly looking and dizzy. The luxurious life of the rich kid makes many people admire. Not only being luxurious and having a lot of money, Thanh Tu also makes many people fascinated with a series of pictures showing off her “superior” beauty. The white skin, more charismatic than people and the standard body of the rich kid really make people unable to help but drop their hearts. Although beautiful and charming, occupying many waves on social networks, Thanh Tu is the richest kid with the most mysterious family in the Vietnamese rich family. Photo: FBNV Invite readers to watch the video: 5 Vietnamese RICH KIDs with the most luxury: People who travel by private jet – Source: YAN News

Father and son Tran Minh Tung together take care of the vineyard. Photo:N.Son It is said that in Tan Hanh Ward there is a Ha Den vineyard planted in a safe way, many curious Bien Hoa people have come to Mr. Tung’s vineyard both to satisfy their curiosity and to save money. images with clusters of grapes laden with fruit. * Work and learn at the same time Introduced by friends, Ha Den grape is a grape variety with outstanding advantages compared to other grape varieties being grown in Vietnam such as: healthy growth, fast to harvest, sweet fruit, mild aroma and especially no taste. There were seeds, so Mr. Tran Minh Tung began to learn about the characteristics and techniques of growing this grape variety. In 2019, seeing that his son had a passion for farming, the family had land available, so Mr. Tung boldly invested in a drip irrigation system, materials for making trellis, tarpaulins, heat sinks and ordered 200 plants. Ha Den grape variety from Bac Giang University of Agriculture and Forestry for trial planting. Mr. Tran Minh Tung shared that in the coming time, he will continue to expand the area of ​​​​Ha Den grapes. In addition to selling grapes, he will develop the vineyard into a tourist attraction and experience. Mr. Tung said that when he brought the grapes to plant, everyone around him told him to take risks because grapes are often grown in the South Central coastal provinces, in Bien Hoa City, only a few families have grown as ornamentals. Planting for shade, few people grow grapes on a large scale (about 700-800m2) like him. When buying materials and equipment to build a truss, receiving grape varieties for planting, he realized that he had taken a risk when he spent 120 million VND to do something without knowing success or failure. Encouraged by his family, especially his son, and expressed his determination to successfully grow the Ha Den grape variety with his father, Mr. Tung felt empowered. However, passion and determination is one thing, the reality of growing and taking care of grapes is another. In addition to instructions from Bac Giang University of Agriculture and Forestry, in order to take care of the vineyard, he had to find books to read, go online to find articles about Ha Den grapes for reference, and even fly from South to North, find gardeners to learn from experience. The vineyard is located next to the house, so the first time he planted it, he was in the vineyard almost every day to monitor the growth of the grapes, as long as the grapes showed signs of abnormality, he would contact a number of gardeners to ask and handle. right. Thanks to that, after only 2 years of growing grapes, Mr. Tung has mastered all techniques of growing and taking care of grapes, handling problems related to Ha Den vine. Knowing the vineyard, many people in Bien Hoa City came to visit and take pictures at the vineyard. Photo: Facebook Nguyen Thuy MC According to Mr. Tung’s share, in addition to buying healthy seedlings, a prerequisite for growing Ha Den grapes is a roof. The roof is made of transparent nylon that has the effect of covering heavy rain to prevent leaf breakage, fruit loss, and pest control. The fertilizing and watering is not the same as for ordinary plants, but must use a drip irrigation system and an automatic fertilizing system on the grapevine, absolutely do not water the leaves. In the period of flowering and fruiting, the care is the most difficult because it is necessary to prune flowers, prune fruit, and cover fruit. The technique of pruning grapes needs to be very skillful so as not to scratch the fruit and cause it to crack when it grows. In the near-harvest stage, watering must be stopped to increase the sweetness of the grapes. * Add a “check-in” place for Bien Hoa people Ha Den Vineyard has only been nearly 2 years old so far, starting to generate income. Mr. Tung said that from the 2nd year onwards until the 8th year is the time when the grapes are at their strongest, so the yield will be higher, about 5kg/plant/crop (2 crops per year). Because this is the first harvest, the family wants to create conditions for customers to try Ha Den grapes, so the family only sells it for 120,000 VND/kg (while in the market, the price ranges from 150 to 170 thousand VND/kg). . Ha Den Vineyard not only brings income to Mr. Tung’s family but also becomes a destination to visit and take pictures of Bien Hoa people. Ms. Trieu Hoa Ngoc Lan, Secretary of Doan P. Tan Hanh said, Bien Hoa city has no fruit garden that can serve the needs of visiting, taking pictures and experiencing, so the grape growing model is quite new. She contributed to introduce the vineyard to friends, colleagues, and youth union members. Therefore, the first grape crop last year, although there were not many fruits, attracted many visitors to visit and take pictures. Having a hobby of traveling experiences, Ms. Nguyen Ngoc Thao An (living in Quang Vinh Ward, Bien Hoa City) has traveled to experience many gardeners inside and outside the province. According to Ms. Thao An, in Da Lat she had been to the garden of cabbage, carrots, tomatoes, lettuce, strawberries…; Coming to Ninh Thuan, she visited the vineyard and dragon fruit. In the province, she visited Tan Trieu pomelo garden, rambutan garden in Long Khanh… Most recently, when friends introduced about Ha Den vineyard in Bien Hoa city, Thao An also came and “checked in” here. Ms. Thao An shared, Ha Den vineyard is the same size as other gardeners she has been to, but has the advantage of being located in the campus of Bien Hoa city. This is a favorable condition for those living in Bien Hoa city who are passionate about garden tourism like her to take advantage of visiting and taking pictures without spending much time traveling. A special feature, besides visiting Ha Den vineyard, visitors can manually cut their favorite bunch of grapes with scissors, taste grapes right at the garden, but only pay the amount equivalent to the purchase amount. grapes.

As an endangered species in the wild, the import and trade of Asian arowanas in the US is illegal. But in other parts of the world, arowanas are a highly sought after luxury item and completely legal. They are prized by Yakuza gang members in Japan, business magnates in China, and fish collectors in Europe. A single primitive specimen can be more expensive than a Ferrari. From a swamp creature to a luxury item Asian Arowana. For centuries, Asian arowana has been a popular folk dish of Southeast Asians. Outside of local markets in Malaysia, this fish is neither widely traded nor favored. But everything changed in 1975. As wetland habitats in Southeast Asia decline, Asian arowanas begin to decline in numbers. CITES, a treaty restricting trade in endangered wildlife species, has classified the Asian arowana as threatened. This move aims to ban the trade of arowanas for commercial purposes. But according to Emily Voigt, who has spent nearly a decade delving into the story of the Asian arowana for her book, The Dragon Behind the Glass, “That official endorsement is completely counterproductive. It really turned the fish into a limited edition luxury item.” Smugglers in Malaysia began to smuggle Asian arowanas into Taiwan and Japan. In an effort to stop this illegal trade, CITIES has allowed farmers in Southeast Asia to legally breed, harvest and sell Asian arowanas. But again, everything went to a dead end. In the decades that followed, hundreds of arowana farms sprang up across Indonesia and Malaysia. It is noteworthy that these fish all disappeared from the wild. Today, the biggest market for Asian arowana is China. The fish has a “spirit” and the plastic surgery market for fish blooms Emily Voigt said: “It has become a mystical creature that is said to have the power to protect and help you make good business decisions, bringing wealth and prosperity. There are even stories of arowana jumping out of the tank as a warning of bad luck.” To keep their fish aesthetically pleasing, owners don’t mind spending money on “plastic surgery” to satisfy their hobby with eye lifts ($90), chin augmentation ( $60) and tail editing ($60). This belief has turned farm-raised Asian arowanas into an estimated $200 million/year global market. Huge income from trading arowana In the mid-1980s, a printing industry executive in Indonesia named Tris Tanoto quit his job and bought 12 Asian arowanas for $170. With the help of friends, Tanoto bought a small farm in East Jakarta, raising fish in a pond on the property. Experiencing many failures, to this day, Tanoto’s base of operations is one of at least 250 CITES-accredited Asian arowana farms across Southeast Asia. PT Munjul Prima Utama is one of Indonesia’s largest exporters of Asian arowana, especially “Super Red” – a crimson arowana that is very popular with the Chinese because they consider red to represent vitality and good luck. Each year, the company sells about 1,000 of the 7,000 Asian arowanas, generating about $3 million in annual sales. The average is $3,000/fish, but prices can fluctuate based on many factors such as color, origin, fin size and head shape… Tanoto sells 8 varieties of Asian arowana, with prices starting from 1,200 up to $5,500. Tanoto sold a “perfect” Super Red arowana to a Chinese man for $30,000. The extremely rare Asian Arowana can earn 10 times that amount. A Malaysian breeder specializing in albino Asian arowana once sold one of his arowanas for $300k. Instead of going directly to customers, many farms in Southeast Asia sell in bulk to dealers in other countries. Among these agents is David Carr, who runs Planet Arowana. With a passion for arowanas, David Carr moved to Malaysia and spent a year learning everything about this fish from local breeders. Carr says the process works like this: The lake has 20 arowanas (6 males, 14 females). Each female lays 10 to 80 eggs. Every 2-3 months harvest fry (called fingerlings). The fish are shipped to the UK and sold at 4-6 months of age for between $300 and $4k or more each. Carr sells his arowana to buyers around the world. In recent years, Carr said demand has expanded from Asia to the West.

However, realizing that there were many broken rice restaurants in Saigon, The boldly flew to Hanoi to start a business, hoping to bring a familiar Saigon dish to Hanoi. “In Saigon, broken rice is everywhere on the sidewalks, big and small. From large scale restaurants to small casual eateries. Everyone in this city loves to eat broken rice. They all eat in the morning, lunch, afternoon, and evening because broken rice is easy to eat and reasonably priced. The broken rice shops are crowded. So I think, trading broken rice can help make money and be successful in Hanoi”, The recounted. Broken rice is a popular dish in Saigon Think is do. In early 2019, he decided to fly to Hanoi. Here, The met some close friends and asked them for advice, looking for a place to rent space to open a broken rice restaurant. After two weeks of searching, The rented a space of 50m2, including 2 floors, in Duy Tan street, Cau Giay, Hanoi. This is a beautiful, bustling place with a lot of office people. However, the rent is extremely expensive 20 million/month. Although the rent is expensive, he saw the potential because there were many offices and many office workers, so he still decided to do it. So rent the house for 1 year but have to pay 6 months in advance. Particularly, the rent for the premises has already expired 120 million VND. He spent 30 million to buy tables and chairs, cooking utensils, dishes and 5 million to buy ingredients such as grilled ribs, grilled meat, eggs, skin, egg rolls and other side dishes… Then hire 2 more service staff, salary 4.5 million/month/person. The total cost he initially spent was more than 160 million dong. Because the process to process broken rice is quite simple and few stages, when making the dish by yourself, The also finds that it saves a lot of time and the cost of hiring staff to serve. In addition, the side dishes of broken rice are also easy to prepare and relatively cheap. “The broken rice dish only has grilled ribs, eggs, skin, and egg rolls. Side foods need cucumbers, tomatoes, lettuce, sauerkraut, etc. All of these foods are rustic and can be bought easily at markets,” he said. With the remaining amount of about 40 million, The thought to reserve for the procurement of raw materials and pay staff in the first 2-3 months of business when there were not many customers. The strange thing is, although the restaurant is opened in such a method, it is not as satisfactory when it opens for sale. However, when coming to Hanoi, not everyone likes this dish, even though the price of a meal of broken rice in Saigon is only 35,000 VND. “In the first month, the shop had a loss. But I think the loss of the first month is normal because the customers are not familiar. Hopefully next month more guests will come. But the next month, I still have a loss. The next month will not be able to recover, “The said. The price of each plate of broken rice is very affordable, only 35,000 VND, but on many days, it can only sell about 50 servings. Deducting the money to buy raw materials, he only made a profit of about 500,000 VND all day. This amount is only enough to pay the salaries of 2 employees, electricity and water. 3 consecutive months of losses, too panic, The started to panic and find the reason why his broken rice restaurant has good food, enthusiastic service attitude is still not crowded. Turns out, Hanoi office people don’t like to eat broken rice often. They prefer to eat at familiar restaurants that they have tried. They also prefer popular dishes such as bun cha, bun dau, pho, and banh cuon on the sidewalk rather than sitting in beautiful restaurants. In addition, on sunny days, the temperature is up to 39 degrees Celsius, the number of visitors decreases. Sometimes it’s halved. Because it’s sunny, everyone is afraid to go out, so they bring home-cooked rice. Trying to maintain the shop until the end of the 5th month, The decided to close, accepting a loss of 200 million. “Any business person opening a restaurant wants to quickly recover capital and make a profit. But now I know, just relying on the basic advantages of the dish is not enough and will still lose face. The broken rice business in Hanoi is not suitable for the culinary needs of the people here. Meanwhile, the shops of pho, bun cha, and popular snacks with no brand or name but are always full of customers even though they are located in the alley,” he concluded. Having failed with a broken rice restaurant in Hanoi, The flew back to Saigon to continue working and saving money. After nearly 2 years, he continued to rent a space of 7 million / month to open a popular broken rice restaurant. “The failure in Hanoi taught me a great lesson. It is business, life or death, success or failure, the final decision is still the habits and preferences of the people there. Then comes the quality of the food and the issue of food safety and hygiene. Moreover, my mistake when I invested in opening a broken rice restaurant outside Hanoi was that I just opened the restaurant and asked for a big business. Therefore, I should learn from others, open a small shop, and then slowly see how it expands.”

The costume “Ken Em” was chosen by Khanh Van to compete. Photo: FBNV On the morning of May 14 in Vietnam time, Miss Nguyen Tran Khanh Van officially entered the National Costume contest within the framework of Miss Universe 2020. During the performance, Khanh Van had a small incident. when “opening the cocoon”. However, the queen had a skillful way to handle it, maintaining a confident spirit when she continued to stride on stage. This action has made the online community full of praise. The online community is full of praise. National fans encourage Khanh Van. “Small mistakes in the acting process are too normal Khanh Van, the important thing is that Khanh Van was too smart and knew how to act immediately and that’s great. Stay healthy and prepare mentally. The most comfortable spirit for tomorrow’s important semi-final, Van! Remember that regardless of the outcome, everyone’s love and support for Van is still the same and can be more! Fighting Khanh Van.” – Jenny Hoa account commented. On the official Facebook page of Miss Universe 2020, a series of comments calling Khanh Van’s name were all affixed with a red flag with a yellow star, showing national pride in the international beauty arena. Comments “Great”, “Proud of Vietnam”, … flooded under the livestream of the organizers. The online community is full of praise. The online community is full of praise. The costume chosen by Vietnamese beauties to participate in Miss Universe 2020 is “Ken Em” – inspired by the image of a cocoon releasing silk, to promote Vietnam’s silk weaving industry. Designer Khoa Lo came up with the idea for this outfit with a sophisticated and detailed assembly. It is known that while practicing with “Ken Em”, Khanh Van was injured but always tried to complete the contest well. “Ken Em” costume. Photo: FBNV “Ken Em” is designed with the main white tone, light and flying material, making Miss Khanh Van’s performance more flexible and graceful. The main part of the design is the Ao Dai with the headband, showing the grace and elegance of Vietnamese women. Khanh Van assembled the costumes by herself before the show. Photo: FBNV. The total weight of the costume is estimated to be up to 30kg, decorated with delicate crystals. To ship to the US, the “Ken Em” costume was removed into very small pieces. Before the competition, the beautiful Khanh Van assembled this outfit by herself. Nguyen Tran Khanh Van was born in 1995, was crowned Miss Universe Vietnam 2019. In early May, she left for the US to compete in Miss Universe World. The results of the traditional costume contest will be voted by the global audience through the application of the Miss Universe organizers. The semi-finals of the evening gown show will take place on the morning of May 16, the final of Miss Universe 2020 will take place on the morning of May 17, Vietnam time.

In difficult camera angles with low, fragmented and uneven light sources along with fast-moving models, vivo X60 Pro proves its ability to take professional photos, capturing the movement of the model and the shape of the halo on top Start with Camera Gimbal 2.0. Photo: NAG As one of the world’s leading companies in the field of technology and always putting people’s needs at the center of development, vivo is constantly improving as well as choosing a direction to improve image quality in a radical way. best: improving the hardware (lens), instead of just improving the AI ​​(software) like many other phone manufacturers. The premium lens quality preserves subject sharpness, while the bokeh is evenly rounded, smooth, easy on the eyes, and professional. Photo: NAG ILLUSTRATION vivo launched the flagship X60 Pro in its high-end X series. The smartphone carries a 48MP + 13MP + 13MP triple camera with the ZEISS logo inlaid on the lens, while the ZEISS Vario-Tessar branding is engraved below the camera. Both ZEISS and vivo aim to differentiate and maximize efficiency in imaging, combined with software and algorithmic expertise. It was this similarity that paved the way for a push in the mobile photography market, offering outstanding photographic performance. At the super-wide angle, the camera on the X60 Pro gives accurate proportions between objects and details in the image, without distortion like most mobile cameras today. Photo: NAG TRAN MINH DUONG Equipped with ZEISS lenses, along with valuable upgrades in parameters and advanced vivo shooting features, the flagship vivo X60 Pro will bring users an engaging mobile photography experience. more led, more innovative and more professional than ever. The camera of the X60 Pro will give sharp images, no distortion, no aberrations and true colors. With a history spanning more than 170 years, ZEISS has been associated with many important events of great significance to mankind. The most typical is the first human exploration of the Moon. It was the ZEISS lens that was used to capture the moment Apollo 11 landed on the Moon in 1969 – a very important event in human history. In addition, for longtime photography players, ZEISS is a very special name, has existed for a long time, and has become a legend. It’s easy to see famous artists and filmmakers like director Todd Phillips and Joker (2020) cinematographer Lawrence Sher using camcorders with ZEISS lenses.

According to architect (Architect) Khuong Van Muoi, former Chairman of Ho Chi Minh City Association of Architects, it is very necessary to bring air, light and trees into the house. Trees help reduce the heat on summer days, bring fresh air into the house, create comfort for residents. One of the simple ways to bring nature into the house is to design an airy space with lots of openings and wide doors to let the wind circulate. Besides, using good light-absorbing materials such as glass, bright plastic to bring natural light into the house. Trees may be few but arranged in appropriate positions, taking advantage of small trees that can be hung in windows, atriums… Using every pine space to plant trees is the best way to bring nature into the house. Photo: THU TRINH “Green trees should be planted around the house and balcony to bring fresh space. Do not plant many plants in the bedroom because trees absorb O2 and emit CO2, if planted too much will make it difficult for people to breathe when the door is closed. In addition, for small houses, wind and light are even more essential. Therefore, we need to design the house so that natural light enters the house and good ventilation” – Architect Khuong Van Muoi shared. In addition, architect Huynh Bao Toan, Director of a mobile home supplier, shared: In order to bring nature into a small house, in addition to planting trees, homeowners should arrange it reasonably and simply. For small houses, placing too many bulky items will make the space cramped, making it difficult for the air to circulate. Therefore, it is recommended to use simple furniture, smart furniture because they help the house become more spacious and airy. “A suitable arrangement of furniture will have more green space. Currently, the use of smart furniture is very popular, for example, using a sofa in combination with a bed, a dining table with a desk to take up less space,” shared architect Huynh Bao Toan.

The designs in Taile spring-summer 2021 collection of designer Tai Le. Fashion designer Tai Le was born in Hanoi into a family with rich artistic traditions. Passionate about fashion since childhood, he pursued and had 15 years of training in the US in the field of fashion and business. Tai Le graduated with excellence in fashion design with the award “Student of the Year” (2017) at Parsons School – The New School of Design (a famous American school of fashion design). In 2017, he launched his own brand name Taile, then continuously appeared at fashion events such as Hongkong Fashion Week (2018, 2019) and New York Fashion Week (2019). Tai Le’s designs are also present in major fashion markets around the world such as the US, UK, Germany, Italy, Hong Kong (China) … Tai Le’s fashion design can be encapsulated in modern, future and dynamic 3 words. This designer aims to be successful young people with discreet, luxurious yet stylish outfits. His designs often have a wide shape, sophisticated seams, especially high-quality exclusive fabrics. The newest Taile spring / summer 2021 collection by this designer clearly shows style and has lots of new and creative exploration. In addition to the familiar white and gray colors, the designs have a bright blue color interwoven. The wide form is intelligently handled by Tai Le with generous folds, drawstring around the cut line, soft and feminine. The designs use lace materials made of 100% cotton, silk, satin, waterproof polyester … treated, dyed, woven by Japanese technology, tested to the standards to not harm the environment. and does not cause negative impacts on producers, at the same time suitable to the climate of Vietnam. Returning to Vietnam, besides appearing in prestigious events such as the annual Vietnam Fashion Week, designer Tai Le also cooperates with Tan My Fashion Design Company Limited – Tan My Design (61 Hang Trong, Hoan Kiem) – famous traditional fashion destination of Hanoi, to introduce its designs to the fashion lover of Capital. Most recently, in mid-April, he opened a fashion store at Caravelle Hotel Saigon (District 1, Ho Chi Minh City). Director of Tan My Fashion Design Company Limited Nguyen Thuy Linh said: “Tai Le is a talented and well-trained young designer. His designs are modern, luxurious and elegant, in line with world fashion trends. Tan My Design always wants to collaborate with such young designers so that the public, especially international visitors, can better understand Vietnamese fashion ”. Regarding a long-term strategy, not only expanding and meeting the fashion needs of young people, designer Tai Le determined to look to the foreign market to affirm the Vietnamese fashion brand in the international arena. “To have a position outside of excellent design, attention must be paid to fabrics, durability and high-quality accessories on each product. That is what I will focus on to bring Vietnamese fashion to a high level, ”said designer Tai Le.

She discussed with her husband to stop sewing and open a shop selling silk products. She named the silk establishment Dong Huong-grafted from the couple’s name as a guarantee to customers about the quality and origin of the product. Instead of mass production, many Dong Huong silk products are handmade. Therefore, the time and effort of the craftsman put into a silk product is also more. For example, to complete a scarf, it takes 5 hours to finish a handkerchief while a machine only needs 15-20 minutes. Completing a silk tie from cut, pressed, and hand-sewn takes 3 hours. The silk blanket is made up of hundreds of colorful silk fabrics that require 5 meticulous craftsmen to staple combs, sew hands … Ms. Thu Huong hopes that Vietnamese silk will gradually become familiar with domestic customers. Ms. Huong shared, just looking at the product can appreciate the craftsmanship and love of silk workers. A skillful and meticulous worker will give a steady, smooth path; on the contrary, the rush and rush can damage the silk. Huong especially loves and cherishes silk and wants products made by the company to be beautiful, perfect and diverse in designs and types. Dong Huong Silk Factory is one of the first establishments to market the “Miss Tam” ao dai wearing with skirts, which has become a “hot trend” for many women. Ms. Huong also launched a wide range of flare skirts, hugging skirts, long skirts and silk dresses for the evening parties, receptions … With shirts, she also designs many long designs; and silk scarves are attached to silk flowers to help women wear a scarf fast and still beautiful. Never been trained in fine arts and fashion, but with her sense of aesthetics and passion for silk, Huong always has unique innovations and creations on silk. For example, she has created the form of painting on high quality silk. From a white silk, she used the watermarking method, colored scales on the water, then gently put the silk on. Silk sheets are printed with special colors, creating beautiful, varied patterns and patterns, without any fragments. In addition, she also has hand-painted silk products with flowers and leaves, pictures of many landscapes … very beautiful. The color painted on silk is durable and soft, not cracked or broken like other silk printing. Ms. Huong said: “Me and the members of the company really want to bring Vietnamese silk closer to the Vietnamese people. In order for everyone to be able to use silk products in everyday life … When silk becomes more attached to life, silk making will have a chance to thrive again ”.

The National Online Book Fair 2021 takes place from April 17 to May 15 at book365.vn Compared with the first year organized in the online form, the 2021 Book Association has many new and more attractive features. In which, there are about 70 publishing and publishing units in the country (an increase of nearly 20 units compared to 2020), nearly 30 foreign units, bringing nearly 20,000 good books, newly provided books over 30,000. printed book titles, e-books (an increase of nearly 15,000 book titles compared to 2020) for readers. All books are beautiful and copyrighted publications. Especially, at this year’s event, the Ebook book space and the copyright exchange were piloted to connect domestic online publishers with readers; as well as creating a space for cross-border exchanges between domestic and foreign publishers, creating opportunities to connect, search and transact valuable book copyrights through the application of the latest online 4.0 technology. . This year’s online book fair has made many improvements to its interface as well as technology to create a space for readers to search and select books, and create conditions for units to participate in book exchanges and exchanges. copyright translation is more favorable. In addition, many seminars, online exchanges between authors, researchers, publishers and readers aim to spread the love of books to readers. According to Mr. Nguyen Nguyen, Director of the Publishing – Printing and Publishing Department (Ministry of Information – Communication), Head of the Organizing Committee of the National Online Book Association 2021, this year’s event continues to be an important stepping stone to bring culture. reading activities as well as publishing activities step by step step into digital transformation, apply technology, create habits for readers to experience books on a digital platform. At this same point of view, many publishers believe that while translating COVID-19 has many potential risks, as well as the strong development of the 4.0 technology revolution, the organization of the Online Book Association is the right direction. appropriate, in accordance with the trends and needs of the reader. For publishers, book publishers, book companies … joining the Online Book Association helps them save on site and human costs, and at the same time, promote books more widely to the community. Meanwhile, readers in all parts of the country, especially in places where there is a shortage of books have the opportunity to access, experience digital books, buy useful books without wasting time, instead It only takes a “click” on the computer screen or smart phone, then you have owned the book you want to buy. Up to now, the National Book Association has taken place for the 7th time, annually held to celebrate Vietnam Book Day April 21. This event was jointly organized by the Ministry of Information – Communications, the Central Propaganda Department, the Ministry of Culture, Sports and Tourism and other units to encourage and develop the reading movement in the country. In 2020 and 2021, the National Book Association will be organized in the online form, on the e-floor https://book365.vn of the Ministry of Information and Communications. Over the past 7 years, whether taking place on the electronic floor or on the field, the National Book Association has also received the attention of book lovers and the community, contributing to enhancing the position and role of books in social life. This is also an opportunity to honor readers, participate in composing, publishing, collecting and storing books; to uphold the responsibilities of all levels and branches for the construction and development of reading culture.