Nadou Pro turns AI video into a production system

Nadou Pro is iQIYI's signal that AI video is becoming a production system, not a clip machine. According to a Chinese media report, the AIGC professional film and television production platform entered commercial use in April, then reached more than 200 functions after three months of iteration. The same account says its asset trading market opened more than 800 digital assets, its voice library added 150 differentiated voices, and its IP library opened more than 6500 IP resources.

That changes what the buyer is really choosing.

A generator can make footage; a production platform has to hold the repeatable parts around it. Nadou Pro sits inside an iQIYI creator service system with seven named parts, including AI Film and Television Creation Camp, Nadou AIGC Venture Capital Conference, Peter Pau iQIYI Film Theater, iQIYI AIGC Creative Center, iQIYI Hao, and creator customer service. The pattern is the point: model quality still matters, but the workflow around rights, assets, voices, distribution, and service decides whether AI video can become a dependable business.

From clip generators to operating systems

Nadou Pro is useful because it makes the category shift visible. According to Chinese media, iQIYI's AIGC professional film and television production platform entered commercial use in April, then launched more than 200 functions after three months of iteration. That is not the posture of a clip generator. It is the posture of a production system trying to absorb the messy work around the clip: assets, voices, IP material, creator services, and project handoff.

The scale of the surrounding shelves matters. Chinese media reported that Nadou Pro's asset trading market opened more than 800 digital assets, its voice library launched 150 differentiated voices, and its IP library opened more than 6500 IP resources. Those numbers reframe the buying decision. A studio is not only asking which model makes a shot look better. It is asking where the character asset comes from, which voice can be reused, and what IP material is already inside the platform.

The wrapper is part of the product.

Nadou Pro also sits inside a larger iQIYI creator service system. Chinese media describes seven parts: AI Film and Television Creation Camp, Nadou AIGC Venture Capital Conference, Peter Pau iQIYI Film Theater, iQIYI AIGC Creative Center, Nadou Pro, iQIYI Hao, and the creator customer service system. That bundle links production tooling with training, financing exposure, publishing channels, and support. The platform is selling a route through production, not a button for output.

Haozhen pushes the same idea from the enterprise side. ifanr reported that Kuaizi.ai and Shanghai Film Haopu Smart Industry Community launched the Haozhen Film and Television Creation Platform at Shanghai Science and Technology Film City, designed from the start as an enterprise-level film and television industrial production system. Its Lizhen Engine uses an infinite canvas to connect script ideation, character settings, storyboard design, video generation, and post-production revisions in a continuous workspace. It also supports master and sub-accounts, permission controls, team asset libraries, and Token consumption management.

Laihua shows the platform logic spreading beyond production. After 2022, according to Chinese media, it used VinaAgent as its core to build products across model scheduling, content distribution, and scenario terminals. Its VinaAI system includes VinaAgent, VinaShort, VinaRouter, and VinaHardware. The center of gravity is no longer the generated clip. It is the operating layer that can organize creation, route models, send work outward, and keep the next project repeatable.

The real cost sits in compute, tokens, revisions, and people

Cost per finished minute is no longer the render bill alone. On Haozhen Film and Television Creation Platform, ifanr says the stack includes 50 Nvidia DGX Spark units, a previously built hundred-card-scale dedicated computing pool, and an annual multimodal Token call subsidy reaching the trillion-level. For a professional team doing deep AIGC long-cycle production, the estimated average annual consumption is about 200 billion Tokens.

That turns budgeting into allocation, not shopping.

The platform can inject million-level computing power resources each month and subsidize about 10% of computing power supply, according to ifanr. That helps explain why a production system matters: a clip generator may price a prompt, but a studio has to price failed generations, revisions, storage, and the handoff into post-production. The Lizhen Engine's infinite canvas joins script ideation, character settings, storyboard design, video generation, and post-production revisions in one workspace, so the cost map follows the whole chain.

Finished runtime makes the math concrete. New No. 51 Station has a total runtime of 120 minutes, with each episode controlled at 2 minutes, and ifanr says it has entered actual production and commercialization workflows through Haozhen alongside Spirit Detective II. A per-minute cost model therefore has to include the tokens burned before the usable cut exists, plus the human review needed after generation.

Automation still leaves people in the loop. The woshipm author says that in the author's own projects, 80% of Bad Cases can be handled automatically by the system, while the remaining 20% require human review. In another woshipm case, an intelligent payroll system cut checking time from 3 days to 1 day, but that covered data checking and error tracing, excluding final approval and signing.

The failure case is maintenance. Woshipm described a company with several hundred offline outlets and several thousand frontline staff whose AI knowledge base had less than 10% daily active users three months after launch. Staff said its data was still from the previous week, and after three months its content still reflected launch-time rules. Enjoy states that neither prototype reached online product-level running data.

Professional control conflicts with creator access

Professional control starts with the unglamorous parts of production: who can touch an asset, which team spends Tokens, and where the compute queue points first. The Haozhen Film and Television Creation Platform was designed from the start as an enterprise-level film and television industrial production system, according to ifanr. Its dedicated computing power base prioritizes partners inside the Shanghai Film system and companies in the surrounding industry community.

That makes access a design choice, not an afterthought.

Haozhen's structure fits a studio logic. ifanr reports that it supports multi-level master and sub-accounts, hierarchical permission controls, team asset libraries, and detailed Token consumption management for different teams or project groups. The Haopu industry community has gathered more than 50 film and television technology companies, so the platform is not only serving isolated creators at a browser tab. It is being positioned around a cluster of companies that need controlled collaboration and predictable resource allocation.

The ambition is wider than one park. Kuaizi.ai founder and CEO Chen Wanfeng said Kuaizi.ai and Shanghai Film plan to use Shanghai as the core and Songjiang as the fulcrum, moving Haozhen from a project tool for resident companies toward general-purpose infrastructure for China's film and television industry, according to ifanr. That path favors institutions that can live inside a permissioned system.

Nadou Pro sits in a different tension because iQIYI is also trying to widen creator access. A Chinese tech outlet reports that CEO Gong Yu described iQIYI as advancing AI empowerment for live-action filming and AIGC feature-length creation while transforming toward decentralized social media. The company's creator service system has seven parts, including Nadou Pro, iQIYI Hao, the AI Film and Television Creation Camp, and the creator customer service system.

The pull is economic as well as technical. The same outlet says daily average uploads across iQIYI Hao content categories rose 30% to 500% quarter over quarter in the second quarter, while medium-length drama projects without guaranteed minimums can reach a maximum revenue-sharing ratio of 130%. Haozhen shows why professionals want private compute and asset isolation. iQIYI shows why platforms cannot ignore open participation and revenue sharing.

Rights and portability become workflow risks

Reusable assets are where an AI video platform starts to feel less like a generator and more like a production memory. Nadou Pro's asset trading market has opened more than 800 digital assets, according to a Chinese tech outlet. Its voice library launched 150 differentiated voices, and its IP library opened more than 6500 IP resources. Those numbers matter because a team can stop rebuilding characters, voices, and reference materials for every episode.

The same convenience creates a dependency.

Once scripts, character settings, storyboards, generated clips, and revisions sit inside one workspace, moving a project is no longer a simple export problem. Ifanr describes the Lizhen Engine as an infinite canvas that connects script ideation, character settings, storyboard design, video generation, and post-production revisions. That makes iteration easier. It also means the project file becomes a container for creative decisions, model outputs, and platform-specific structure.

Rights add another layer. Ifanr reported that Shanghai Film veteran artist Liang Boluo, aged 89, granted portrait rights to the production unit for *New No. 51 Station*. That fact points to the practical question every production team must ask before scaling a character or performer likeness: who owns the usable portrait rights, where are they recorded, and can the authorization follow the work outside the tool that helped create it?

Team asset libraries have the same double edge. The Haozhen Film and Television Creation Platform supports multi-level master and sub-accounts, hierarchical permission controls, team asset libraries, and detailed Token consumption management for different teams or project groups, according to ifanr. That is useful governance for studios. It can also make a platform the place where permissions, spending records, and reusable production materials accumulate.

The risk is broader than one vendor. The same outlet describes Laihua's VinaAI product system as spanning VinaAgent, VinaShort, VinaRouter, and VinaHardware. A system like that can connect creation, playback, model invocation, and terminals. Before committing, practitioners need to know which files, voices, portraits, IP resources, and team libraries can leave with them, and which ones only work inside the stack that assembled them.

How to choose an AI-video production stack

• You need a professional film or long-cycle AIGC workflow with team permissions, shared assets, and controlled compute spending. Look at the Haozhen Film and Television Creation Platform model: it supports multi-level master and sub-accounts, hierarchical permission controls, team asset libraries, and detailed Token consumption management. It was designed as an enterprise-level film and television industrial production system, with Kuaizi.ai providing the Lizhen Engine and an enterprise-level Agent engineering system.
• Your bottleneck is not clip generation but the full creative workspace from script to revision. Prioritize tools that integrate the whole production chain. The Lizhen Engine uses an infinite canvas interface and integrates script ideation, character settings, storyboard design, video generation, and post-production revisions into one continuous workspace.
• You want an ecosystem with assets, voices, IP resources, creator services, and distribution rather than a single generation model. Consider the iQIYI Nadou Pro / iQIYI creator-service route. Nadou Pro officially entered commercial use in April, had launched more than 200 functions after three months of iteration, opened more than 800 digital assets, launched 150 differentiated voices, and opened more than 6500 IP resources. iQIYI's creator service system also includes Nadou Pro, iQIYI Hao, and the creator customer service system.
• Your goal is monetizable short-drama or platform-native output. Evaluate platforms with built-in distribution and revenue paths. On iQIYI, AI short dramas accounted for more than 50% of both the number of short dramas and independent visitors among short dramas in June, and medium-length drama projects without guaranteed minimums currently have a maximum revenue-sharing ratio of 130%.
• You are targeting overseas markets where cultural or regulatory red lines affect story content. Study Laihua's VinaAI/VinaShort path. Laihua entered the Middle East market in 2023, and its AI comic-drama business has developed in the United Arab Emirates, Saudi Arabia, and Bahrain. The company says alcohol, pork, and non-compliant romantic or marriage plots can trigger review red lines in Middle East AI comic dramas.
• Your company lacks clean, current operational data or staff do not trust AI answers. Do not treat the platform as a magic layer over broken operations. In one AI knowledge-base case, daily active users were less than 10% three months after launch; frontline staff said they did not trust the answers, the data was still from the previous week, and asking experienced colleagues nearby was faster. The same case showed offline orders delayed in manual entry, some categories not entered at all, and many orders completed directly in WeChat groups.

Distribution and compliance decide whether output earns money

Distribution turns generated video from a file into a business line. According to the report, iQIYI recorded total revenue of 6.29 billion yuan in the second quarter of 2026, with membership services at 4.01 billion yuan, online advertising at 1.25 billion yuan, and content distribution at 680 million yuan. That matters because Nadou Pro sits inside a platform that already knows how viewers pay, how ads are sold, and how content moves through channels.

The creator funnel is built as a system, not a single tool.

The report lists seven parts in iQIYI's creator service system: AI Film and Television Creation Camp, Nadou AIGC Venture Capital Conference, Peter Pau iQIYI Film Theater, iQIYI AIGC Creative Center, Nadou Pro, iQIYI Hao, and the creator customer service system. In June, AI short dramas accounted for more than 50% of both the number of short dramas and independent visitors among short dramas on iQIYI. For medium-length drama projects without guaranteed minimums, the current maximum revenue-sharing ratio is 130%.

Laihua shows the other route: build the loop around overseas demand first. Wei Bo told the outlet that Laihua's revenue in 2025 was about 260 million yuan and is expected to be about 500 million yuan this year. He attributed growth to sticky paying To B enterprise customers, VinaShort's early entry into the Middle East AI comic-drama market, and AI smart photo-frame hardware for overseas family-culture scenarios.

That route is less about owning the biggest IP library than understanding local friction.

Laihua entered the Middle East market in 2023, as China's AI content sector became intensely competitive and short-drama licensing policies tightened, according to the report. Its AI comic-drama business has developed in the United Arab Emirates, Saudi Arabia, and Bahrain, and has accumulated a user base at the ten-million level. Wei Bo said per-capita spending on AI comic dramas in the Middle East can reach 2-3 times the level in China, but also said alcohol, pork, and non-compliant romantic or marriage plots can trigger review red lines.

The monetization stack differs too. VinaShort uses advertising plus paid membership, with advertising revenue accounting for more than half and membership payments growing quickly. Laihua's overseas AI smart photo frame adds another channel: after a user uploads a photo and a text script, it can generate an interactive conversational dynamic portrait in real time. iQIYI's overseas membership revenue grew 40% year over year in the second quarter of 2026, but Laihua's example shows why distribution, compliance, and monetization can be the real moat after generation becomes common.

From AI video tools to production operating systems

Treat region, rights, and revenue as production requirements, not launch paperwork. Laihua entered the Middle East in 2023 because domestic AI content competition was intense and short-drama licensing had tightened, according to a Chinese tech-media report. Its AI comic-drama business now covers the United Arab Emirates, Saudi Arabia, and Bahrain, with a user base at the ten-million level.

That changes the checklist.

Before locking a tool, ask where the work will be published and what the platform knows about that market. Wei Bo told the outlet that alcohol, pork, and non-compliant romantic or marriage plots can hit review red lines in Middle East AI comic dramas, while per-capita spending there can reach 2-3 times China's level. Watch monetization mechanics too: VinaShort uses advertising plus paid membership, with advertising at more than half of revenue and membership growing quickly. If your platform cannot preserve assets, adapt scripts, and connect output to a payment path, it is still only a generator.

For readers outside China

• Availability: The source material describes China-based platforms and projects. Haozhen Film and Television Creation Platform is tied to Shanghai Science and Technology Film City, the Shanghai Film system, and the Haopu industry community; its dedicated computing power base prioritizes partners within the Shanghai Film system and companies located in the industry community. iQIYI's Nadou Pro is described as having entered commercial use, but public availability outside China is not disclosed in sources. Laihua is explicitly expanding overseas and has AI comic-drama business in the United Arab Emirates, Saudi Arabia, and Bahrain.
• Pricing: Most platform pricing is not disclosed in sources. The Haozhen Film and Television Creation Platform introduced an annual multimodal Token call subsidy policy reaching the trillion-level, can inject million-level computing power resources each month, and can subsidize about 10% of computing power supply. The estimated average annual consumption for each professional team conducting deep AIGC long-cycle production is about 200 billion Tokens. iQIYI's Q2 financial report said AIGC project production costs and production cycles can be compressed by 70%-90%, but product pricing for Nadou Pro is not disclosed in sources. Laihua's consumer or enterprise pricing is not disclosed in sources.
• Closest Western equivalents: Runway or Pika for AI video generation, though the Chinese examples here emphasize larger production systems rather than standalone clip tools.; Adobe Creative Cloud plus Frame.io for a multi-step creative workflow, asset management, and team collaboration, though the sources describe tighter integration with AI generation, token management, and platform distribution.; YouTube Studio or TikTok creator tools for distribution and monetization, though iQIYI's case is tied to its own long-video, short-drama, and creator-service ecosystem.; Netflix-style or studio production infrastructure for rights, IP libraries, and production pipelines, though the source material focuses on iQIYI and Shanghai Film-linked systems.
• Data residency: The sources do not disclose formal data-residency, privacy, or cross-border data-transfer terms for Nadou Pro, Haozhen Film and Television Creation Platform, Kuaizi.ai, or Laihua's VinaAI products. What is disclosed is operational geography: Haozhen's compute base is connected to Shanghai Film and the Haopu industry community; Laihua's overseas AI comic-drama business operates in core Middle East regions including the United Arab Emirates, Saudi Arabia, and Bahrain. Compliance details beyond content red lines such as alcohol, pork, and non-compliant romantic or marriage plots are not disclosed in sources.

Sources

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