The 15 march edition of the film network is consumer rights day, and ticket consumption is the subject of interest to many audiences。
And how can we get cheaper tickets? And it's always been a problem in the minds of many audiences, especially when the votes are getting smaller and the words 19. 9 dollars are followed by “limits”, “start”。
More and more people have recently found that there seem to be a lot of cinemas now with their own aps, or small programs, at cheaper prices than the two mainstream ticket platforms (cateyes and ticket hunting)。
In particular, during the spring season, a number of films were sold on platforms for more than $60, or even a single ticket for nearly $100 in front-line cities, and were purchased on the ground cinema, the wanda film, the lumiere film city, or on small programs at a cost of about $10. Prices are even more favourable when the full value becomes a member of the city。
In addition to this, a number of campaign tickets, such as small third-party programs, credit card ap tickets, etc., are cheaper than ticket platforms and become key to attracting audiences. After the customary opening of ticket platforms, cinemas seem to be retrieving the audience in their own way, while at the same time re-energizing the adhesiveness of the audience to the extent possible and retrieving the “base figure” that has been lost over the past three years。
01.
The successful path of the platform is no longer much to dwell on, the price battles of burning money, the head of people, the quiet exits of people, and now cateyes and ticketing software that many viewers routinely open。
But if anyone remembers that before that, the audience was more dependent on the way tickets were bought off-line from the cinema, where there were many ways to reach the audience, such as a half ticket on tuesday or a discount on a savings card. In particular, the form of a savings card has largely increased the stickiness of users。
When viewers started to place prices on the ticketing platform and put prices first, a number of cinemas or court lines seized the opportunity to start building their own ticketing platform. It's like the vanda film, broadway film, land film, micah film, etc。
The “price battle” was hot and the first to respond was probably a wanda film。
After all, the wanda group, behind it, balanced the production, distribution, court lines, and before the film from which it was released, the monster, wanda opened the pre-sale and offered a preferential price。
In the following years, the platform's “price war” gradually went out, and many cinemas have started a new wave of “offensives”, partly at a low price in the first week of some new films。
Either way, the price battle will end up as a “ceasefire”。
But there is still a significant gap between the current 90 per cent rate of “cat-punching” and the growing habit of user buying tickets, which, for the cinema itself, has been tested over the past three years, and the most pressing is to get back to the faithful audience。
What's the biggest gap between cats and apps
Price of services, and time difference。
A simple comparison of the same film, reyon shazan! The wrath of the gods, shows a price difference of at least $2 at the ticket platform and the app at the cinema. Much of this money comes from service fees。
A comparison of the net and group ticket stubs of the same cinema also shows that the latter is on the face and the service fee is zero. Some cinemas also confirmed this in interviews, and service fees were key. Today, the cost of services varies from $2 to $9。
The time lag is another key point in the “war on cinemas”。
Compared to the relationship between the audience and the cinema, the ticketing platform is a third party and, in the face of a large number of films, the cinema can be sold on its own platform either in advance or by locking in gold seats for sale only by its own app。
The wanda film referred to above is a classic case, followed by the alliance of avengers iv, where many court lines were made and successfully renewed。
But it leaves the cinema with another question as to whether the film and itself are solid enough to attract an audience to “actively surrender”。
Photo from flickr by flickr user.
In the view of cinemas, maybe it's a ticket platform, a ticket platform。
In the early days of the platform, there was still an absolute voice in the cinema, where access to the platform's ports could be discussed on the backboard for settlement. However, as the audience's dependence on the platform has increased, the cinema has gradually become weaker, even with the lost initiative of small and medium-sized cinemas, and there is a lack of bargaining power to settle the billing period with the third party platform。
The cinema began to “self-help” how to take back the initiative when the audience “voted at low prices”。
The ticket market is already a stock market, and cinemas are not only dealing with prices, but also with the massive publicity channels behind the ticket platforms, as well as the traffic portals to major social platforms outside the app. The app distribution channels for cinemas are relatively closed and it is difficult to budget for this except for the home。
After all, putting in place an app or a small program would also cost a lot, especially for small and medium-sized cinemas, but would only be strong and insufficient. After all, the head cinema seeks not only to achieve a single ticket purchase, but to attract more registered members, promote storage operations, achieve sticky users and gain market occupancy。
This is an increase in difficulty for cinemas with limited channels of communication. In its 2020 annual report, the wanda film mentioned that during the epidemic, the wanda film had opened up online marketing models for membership marketing, live broadcasting, cross-platform joint marketing, etc。
In addition, a number of large cinemas have begun to work with different kinds of different industries, such as commercial contacts within the business community, or with members of internet buying platforms. It is clear, however, that these models can be achieved on a large scale, such as on the wanda, the earth, and so on, but they are difficult for single-body cinemas。
The association is limited, and most cinemas have chosen to set up storage projects, using a system of membership in different slots, either to deliver tickets or additional items such as popcorn to guide the audience to fill。
For example, lumiere, broadway and the royal city of england have the form of full membership, and the price is lower. As we can see, it's also the ticket for rezah! The wrath of the gods, and the king's single membership price will be nearly $20 less than non-members。
However, this pattern of value-added remains elusive for the audience, and some of the court lines need to be used within one year, otherwise the maturity will be frozen and the minimum amount needed to be activated. If it is not for a senior audience, the opportunity cost of such a capitalization model is much greater than it was intended on an ad hoc basis to be purchased through a ticket platform。
03.
In addition to the cinema's own app and small programs, a number of credit card buying platforms would be relatively advantageous。
For example, the transport bank's credit card is directly connected to the cat-eye system, and the overall price is not very different; commercial banks offer a lot of discounts on the fare, and it's also rathon shaitan! The wrath of the gods is at least $10 less than the ticket platform. There is even a crediting of points, or a catch-up of $19. 9。
This series of initiatives is, of course, to a large extent and ultimately also for the sake of renewal。
In addition to the above-mentioned channels, a number of small programmes have begun to promote the sale of film tickets to obtain users at cheaper prices, thereby increasing the adhesiveness of the audience. For example, the “discovery of the perimeter” applet allows the viewer to complete the one-stop purchase of services in the most convenient form of aggregation, while at the same time providing the greatest preferential support at the price。
Perhaps, when cinema apps, small programs and other entirely new channels expand, the audience has the opportunity to buy cheaper tickets and return to the cinema. Next, it will be the biggest task of cinemas and film producers to use the services of cinemas and the quality of films to entertain audiences。
