South Korean Content Market's New Media Ecosystem – Streaming Services and Rising Production Costs, Evolving Deal Structures Complete Overview
Recent South Korean drama market is rapidly shifting from a traditional broadcast channel–centered model to a digital transformation steered by the latest digital media. At the same time, content production investments have increased sharply compared to the past, and the rights, sponsorship, and partnership contracts are also undergoing significant changes. This report aims to analyze the key characteristics of production costs and transaction structures along with case studies to derive future prospects.
1. Changes in Drama Production Costs
1.1 Production Cost Increasing Trend
Initially, domestic dramas were produced primarily through internal production systems, but since the 2000s, the increasing participation of freelance producers has led to a growing trend in production costs. Currently, the average cost per episode is approximately roughly 7–10 billion KRW, while premium dramas may even exceed 30 billion KRW in certain cases. For instance, dramas based on history or streaming-exclusive content typically require substantial production investments.
1.2 Components of Production Costs
Drama production expenses include set design, filming, and editing, along with compensation for cast and crew. Notably, star casting costs often account for over 30% of the total budget, meaning that the influence of well-known actors significantly impacts the overall cost structure.
2. Case Studies: High-Budget vs. Cost-Effective Dramas
2.1 High-Budget Dramas
According to major media outlets, there has been an increasing trend in dramas with production costs in the 10 billion KRW or above. Some production companies, even in the face of high expenses, are pursuing overseas expansion through partnerships with streaming services.
2.2 Cost-Effective Dramas
In contrast, some productions are optimizing production budgets to create economical series with expenses around roughly 2 billion KRW. These budget-optimized series employ systematic production processes and have garnered positive responses on streaming services.
3. Evolution of Drama Transaction Structures and Revenue Models
3.1 Traditional Transaction Structures
In the past, domestic dramas primarily generated revenue through contracts with traditional broadcasters and cable channels, with broadcasters purchasing broadcast rights and recouping part of the production budget through additional revenue streams like advertising and placements.
3.2 Pre-Sale and Post-Sale Models
Before production, advance selling (with broadcasters or OTT platforms) and post-production post-contract agreements (through rights and VOD sales) are commonly used. Advance contracts help secure stable funding, though they offer constrained profits. Conversely, post-sales can bring in substantial extra revenue for hit shows, albeit with higher risks.
3.3 The Emergence of OTT and Digital Platforms
OTT platforms (e.g., major streaming services) have adopted production cost support through advance sales, generating additional revenue through international licensing deals. For OTT originals, production companies often secure only a minimal profit margin compared to the investment, making predictable income difficult to guarantee.
4. Challenges and Implications
4.1 Challenges
Increasing Production Costs: The surge in drama production expenses is significantly raising fiscal risks, especially when a drama fails to perform, leading to serious monetary setbacks. Some production companies have even experienced salary payment issues due to budget overruns.
Imbalanced Revenue Distribution: In traditional transaction structures, the income from rights and related deals received by production companies is relatively low, which limits the financial returns despite hefty budgets.
4.2 Implications
Need for Efficient Production Systems: To maximize cost efficiency and manage production budgets, companies must introduce structured pre-production systems, apply cost reduction strategies, and bolster teamwork.
Exploring Diversified Revenue Models: By partnering with OTT platforms, expanding global rights sales, and generating digital ad revenue, production companies can develop a diversified revenue structure.
Improving Investment Structures and Transparency: With transparent disclosure of production and rights sale data, alongside benchmarking successful models in the film industry, there is a need to revamp the Korean drama investment system.
Conclusion
The South Korean drama market is shifting from old broadcast models to a modern, streaming-based structure, facing challenges such as high investments paired with limited returns. At the same time, opportunities are emerging through new income channels in global licensing and digital advertising. With efficient production systems, transparent information sharing, and diversified transaction structures, the Korean drama industry is poised for sustainable, long-term growth.
This analysis highlights how the industry is moving from legacy production systems to modern digital frameworks, and how the changes in production investments and contract structures are setting a new industry standard
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