How to evaluate the seven characteristics of cultural industry projects to determine brand value

Since 2009, the state has successively promulgated the Cultural Industry Revitalization Plan, Guiding Opinions on Financial Support for the Revitalization, Development and Prosperity of Cultural Industries, and Several Opinions of the State Council on Encouraging and Guiding the Healthy Development of Private Investment, which have provided policy guarantees for financial capital and private capital to enter the cultural industry. However, the problem of how to correctly and scientifically evaluate the value of cultural industry projects in the process of docking capital and cultural industry has not been solved, so that the limitation of capital entering cultural industry is still great. The seven characteristics of cultural industry projects make it difficult to evaluate the value of products or services provided by cultural industries in the way of traditional industries. In addition, the intellectual property or brand effect it relies on has the extension of unlimited development. Therefore, in order to scientifically evaluate the value of cultural industry projects, we must understand the seven unique attributes of cultural industry projects. First, value is intangible. Some cultural products or services give people the impression that they are "tangible". The former refers to cultural products in the form of words, screens, pictures, derivatives, performances, sound effects, etc., while the latter refers to the recognition of its value embodied in a feeling, emotion, psychology, experience and reaction, which is a reflection of different ideologies. Second, it is difficult to quantify. It is difficult to accurately calculate the market share of highly personalized cultural products or services, and only interval estimation can be achieved, because there are many accidental factors in cultural experience. Third, the risk is difficult to control. Cultural products or services mainly deal with people, which is a typical "B2C" model. The process of production or service depends on the quality of employees, and the promotion of products or services depends on the reaction of consumers. In addition, the products or services provided are not necessities of life, and the difficulty of risk control in the whole process can be imagined. The fourth is the value fission. It is difficult to determine the input-output ratio of cultural products or services. For example, it is difficult for us to measure the ratio between the wealth created by an anime image, a classic music and a bestseller and the input cost. Once the brand of cultural products is cultivated successfully, cultural industry projects will show the fission effect of wealth. The fifth is negative depreciation. In traditional financial statements, the fixed assets in tangible assets need to be depreciated, but the assets of cultural products often show a trend of increasing value year by year, which is particularly obvious in works of art and copyright. The sixth is the supremacy of communication. In the marketing process of traditional advantageous industrial products, advertisements are not important to display, especially daily necessities or functional products. The dependence of cultural products or services on communication and media is decisive. Without the influence of communication channels, promotion channels, media channels and brands, cultural products or services will not have the expected market benefits. The seventh is the scope of consumption. The paid consumer market is the focus of the cultural industry, and cultural industry operators should know where the market segments are. Generally speaking, popular culture is the foundation of cultural industry projects, and the age group under 35 is the main consumer group of cultural industry projects; People over the age of 35 belong to a rational consumer group. The evaluation elements of cultural industry projects are based on the seven characteristics of cultural industry projects, and the author puts forward the following 14 evaluation elements of cultural industry projects. First, legal policy. Cultural management emphasizes policy orientation, while cultural industry is an industry closely related to ideology, and the projects undertaken by operators must conform to the national cultural industry policy orientation and restrictions. In the evaluation, we should focus on this point. Cultural industry projects should not have luck and "edge ball" route design, otherwise the risks faced by the project may not be ordinary commercial risks. Second, industrial characteristics. The most basic factor in evaluating cultural industry projects is that the projects should conform to the characteristics of cultural industries, and must have the characteristics of scale effect, replicability, industrial extensibility, profit model and sustainable development. Third, the cultural background. This is the soil for the survival of cultural industry projects. The biggest cultural background is social will and public tolerance, mainly including national culture, folk customs, cultural orientation, religious concepts, moral concepts, cultural fashion and so on. Fifth, the senior management team. Talents and teams are the core values of the cultural industry, and the following factors are mainly considered in evaluating the values of personnel and teams: the qualifications of key personnel, team structure, creativity, management ability, professional ability, team stability and personal resources. Sixth, the purpose analysis. Most cultural industry organizations ignore the clarity of organizational purpose. The general practice is to form a team in a hurry and start to "cross the river by feeling the stones" as soon as there is an entrepreneurial direction, resulting in fatal problems such as unclear main business, scattered development, too long front, vague strategy and unclear phased tasks. Seventh, intellectual property rights. Core content value and intellectual property value are the fundamental competitiveness of cultural industry organizations. In the evaluation of cultural industry projects, unique execution, unique resources, authorized resources, copyright resources, patented technology, channel resources and integration ability are all important evaluation indicators. In addition, the advantages of cultural industry institutions in project characteristics, technology application and special government support are also the focus of the evaluation. Eighth, standardize management. Because of its characteristics, it is difficult for cultural industry institutions to implement standardized and standardized management, such as personnel, creativity, design and other costs, production time and sales template. The requirement of industrialization management is that it must be templated, programmed, standardized and standardized to the greatest extent. Therefore, the degree of standardized management of a cultural industry project has great influence on its industrialization development, financial support and enterprise listing. Ninth, financial guarantee. Cultural industry projects have a longer incubation period than traditional industries, and it is difficult to control risks, so the requirements for financial guarantee are more urgent. Therefore, registered capital, scale of fixed assets, profitability of intellectual property rights, financing capacity and bank loan capacity are important basis for evaluating cultural industry projects. Tenth, the profit model. There are two ways to realize cultural industry projects, namely, cultural industrialization and industrial culturalization. The complete path is cultural industrialization before industrial culturalization. Eleventh, marketing promotion. Marketing is the key to the survival and development of cultural industry organizations, and it is also the weakest link of cultural industry organizations at present. A cultural industry project should not only have the traditional channel promotion ability, but also have special abilities such as event marketing, experience marketing, entertainment marketing and interactive marketing. Twelfth, risk control. Although it is difficult to control the risks of cultural industry projects, because every industry in the cultural industry has certain industrial laws, as long as we carefully master these laws and market means, we can quantify the risk control coefficient. Thirteenth, market cultivation. The products or services provided by cultural industries are largely restricted by consumers' cultural literacy. Therefore, cultural industry operators with strategic vision will pay attention to cultivating potential consumers and other social responsibilities while serving existing consumers. Fourteenth, technology application. (Yueming)