New men are in trouble, top-notch creators are lacking, and industry veterans are unable to catch up with technology… The development of video talent has become key to industry development. On 28 October, at the film talent salon of the 2025 China Radio and Television Congress, a number of guests from the Government, platforms, trades and universities gathered to discuss ways in which the film talent can be nurtured and created in the same way. According to the Whale Recreation Group, a new model is being explored “courage-centred, culture-based, science-based” and the systematic development of “technological+art” integrated talent for high-quality business development.
The lack of talent has become a constraint on the upgrading of the industry.There’s an urgent need for a breakthrough.
China is currently undergoing profound changes in the film industry – when short video takes up the time of the user with “electronic fast food” instantaneously, and the long video industry, represented by television dramas, is facing the development dilemma of “dry long-guns and tired combat horses.”
“The television theatre industry is at a critical stage in its progress towards high-quality development, and there are structural slabs and development bottlenecks in building human capacity.” On Sharon, the director of the television drama division of the National Radio and Television Service, Feng Seung-yong, stated that television dramas are a microcosm of the times and a “hospitable meal” popular among the population at large, and that in recent years, despite the emergence of a body of well-thought-out, artistic and well-produced works, lack of talent has become a key constraint on the growth of the industry: Deep media integration requires both creative and full-chain capabilities of practitioners, as well as `film+’ complex talent across the border for the brigade, and `technological+ art’ amphibious talent is scarce at the accelerated pace of intellectual integration.
Feng Seung-young proposes to promote a new breakthrough in the construction of a visual talent that will lead the talent to “root down and grow up” and take creative inspiration into life, and to make a bold breakthrough in innovation and move beyond previous generations, while also proactively embracing a number of intellectual changes and building an open ecology: “Encouraging the platform and the head of the enterprise to play the role of `lead geese’ and to create an effective platform for `new, ganging’ talent through practical projects, such as the `Spring-Spring-Spring Project’ and `Kyo-sung-sung’.”
Zhang Lina, Vice-President and Editor-in-Chief of the Tiger Whale Recreation Group, believes that the industry needs people who are strong and talented, who are capable of managing content and new technologies, and who are systematically developing a combination of “technology + art”; “Future filmers, who must take root in art aesthetics and master technological tools, with advanced productivity such as super-high-level production, virtual filming, and video-making vehicles, to make Chinese stories more dynamic in the scientific and technological context.”
In May this year, the re-branding of the tiger whale will be completed with a two-wheel-drive strategy of “content + technology”, providing online and off-line whole-scenes entertainment to users and full-link services to industry partners. The Chairman of the Tiger Whale Recreation Group and CEO Road have long stated that talent is the core productivity of the film industry, that it is the recreation that produces norms and systems, that helps to improve efficiency and quality, and that it works with more talented young directors, writers, actors, etc.
The project has been launched on a continuous basis as a result of the “Henna” project.It’s a new way of developing talent.
“What is the bottom logic that good content sustains in the new industrial environment? The answer to the continuing search for regeneratives of the tiger whale is that it is people at its core, culture at its root, technology at its engine, long-termism and the construction of a sustainable, high-quality industrial ecology.” A presentation was made by Liu Yanhong, Vice President of the Tiger Whale Recreation Group and founder of the Chun-hsiu screenwriter project. The Chun-hsiong play-writing programme is the talent support project launched by the Tiger Whale to break down the talent trap in the industry and to tap new talent. “The `Spring-Spring-Spring-Spring Project’ is not just a simple `financial support’, but a new set of systematic and collaborative models of talent development.”
Over the past year and a half, the programme has been geared towards the collection of original ideas for the whole industry, the identification of excellent authors from nearly a thousand participants through road shows, the distribution of $1.25 million in creative support for 25 high-quality projects, and the provision of all-linking support and guidance for young authors – from the spring-spring wind camp to the spring-spring class and the spring-spring-spring-spring race, from expert courses to the docking of platform resources to help new people cross the “last kilometre” from “school to industry”.
In addition, the Haina International Youth Directors Development Programme is aimed at young directors who are looking for a global background of local vision and international learning and practice, and explores three ways to support young creators — providing director brokering services, working as group B director in the head project, and hatching individual original IP projects. According to the data, over the past six years, a total of over 300 authors and 42 directors of the play were shown in Yocool.
In Liu Yanhong’s view, a healthy ecology requires both the nurturing of new seedlings and the growth of large trees, “to this end, we are accelerating the landing of the platform’s homemade studio”.
As the first “spring seed” to be broadcast in a home-made studio in the tiger whale, the ” In the name of the law” created by a team from the Dunha studio triggered popular debate and became a typical case of talent and platform achievement. “The ultimate competitiveness of video content is the temperature and insight of `humans’. We need to create a soil where creativity can land safely and professionals can do their part. We need to understand their language, respect their profession and protect their creative passions, as well as to grasp the course of business and art.” According to the Director-General of the Dungeon Studio of the Whale Recreation Group.
In addition, the director of the hot show ” The Water Past ” has set up a studio in Yucheng to focus on the incubation of the original genre, and the tiger and whale recreational work with young directors such as Shino and Zhengxiang to work together to create more fine content.
New technologies like AI have broken the creative boundaries.Reshaping human development logic
New technologies have changed not only the way content is created, but also the new requirements for video talent development. At the Sharon Round Table Dialogue, “Intellectual integration of talents — development and breakthrough of video technology”, industry guests agreed that new technologies not only changed the way in which content was produced, but also reshaped the logic of talent development, while the technological practice of regenerative whale is transforming the “art of technological achievement” from a concept to a reality.
In his dialogue, Hsu Jia, head of the digitizing business of the Tiger Whale Group, mentioned that in the production of the head of the series, “Cleaning Up the River ” , the team size applied virtual photography techniques to make the “Song Dynasty Panorama” of conventional photography a reality – – The fact that creators do not have to be confined to the scenery, and that they simply have to use technology to empty their imaginations, not only increases production efficiency, but also expands the artistic expression space for content.
The chief engineer of the leopards’ recreational group, Zhang Weiji, shared the support of technological equipment for creativity. The leopard video production vehicle, designed for the autonomous development of recreation and development of the tiger whale, combines the capacity of Aliun computing and AI, and has significantly increased the efficiency and flexibility of video production through the integration of front-line technologies such as 5G transmission, AI-aided photography, cloud co-production, green energy power supply, etc., and has created new samples for scientific and technological innovation in the film industry, serving 11 different subjects and types of visual projects such as the Special Agent of Feng Xiaogang and the Tang Mongchi case of the Dark River.
The leopard video production vehicle, developed by the Tiger Whale Recreation Group and designed on its own initiative, has remote monitoring, command and control, DIT clipping, fast-tracking, etc., and provides an integrated, all-link, on-site production programme for video production, with a one-stop, all-process site production by side, by side, and by side.
In terms of AI empowerment, the AI Large Video Model Series, developed in collaboration with the general public, has covered the entire process of “Pre-Preliminary Creative-Medium Film-Preducing” and can help the video-creative team to develop a fast-down-spectrum vision during the creative phase, efficiently generate 3D scenes during the shoot, and create auto-image optimized micro-images in the post-combustion period.
The relationship between science and technology and talent is also the focus of the round-table dialogue. Many of the guests who attended said that, in the digital age, the most valuable remains the imagination and insight of the creators, and that technology should be at the service of creativity; only by using technology as a tool, not as an end, can there be a real two-way breakthrough between the visualist and the fine content.
The video talent moves across the region.The Newport Theatre achieves comparative advantage
Talent development and content in the film industry have never been a “closed-door car” process, and cross-regional cooperation is becoming an important way to break down resource barriers and stimulate creativity. The case of cooperation with Hong Kong in the Mainland has been the focus of the Sharon Round Table Dialogue “Concerning content with the region — the `integration practice’ developed by video talent”.
The success of The Queen of the News is the best footnote to this integration of practice. The News Queen, as the representative of the New Hong Kong Theatre, retains both a clean job narrative and a deep-seated viewer’s aesthetic and style preference, working with TVB through killer whale recreations, and an excellent creation by the lead team, which serves as a model for video exchange learning in the Mainland and the Bay region.
Zhong Jia, Vice-President of TVB, shared the experience of the New Hong Kong Theatre in the dialogue. He mentioned that the focus of the future of the play was first to “conserve the spirit”, to preserve the traditional pursuit of detail and the precise pacing of narratives, which were the unique pyrotechnic smell of the play; secondly, to “receivable” the content of the play, which was presented to the audience in the interior, and to the aesthetic needs of the audience; and finally, to “get the heart”, to find a point of convergence with the audience in the interior, whether it is a struggle or a good life in the workplace.
The actor, Szeman, gave young actors and creators a lot of encouragement: “My greatest impression of all these years’ actor experience is not to be afraid of failure or fall, but to rise up, and to succeed from all these experiences. It is to be hoped that everyone will continue to move forward and towards a good goal in their hearts, and that everyone will become their “Man” sister.”
