If anything, what is made clear by all of this newness is artists and companies alike appear to believe that if they cease posting new videos, regardless of how they compare to normal programming, there will be no company to return to once the pandemic is over.
Pre-COVID, most companies would only present a handful of world premieres each year, and there is no reason to believe ballet audiences will stray if there are no new works for an indefinite period. Indeed, some companies have opted out of participating in this pivot-to-film, like The Bolshoi. It is unlikely The Bolshoi will lose favor after the pandemic ends just because they did not post videos of their dancers trying to stay in working shape outside the studio.
Some may not see the problem here – so what if companies are promoting more new work than usual! Once nameless dancers are now building a portfolio of filmed content, taking advantage of the opportunity to immortalize their work and do what traditional company life would not permit.
A critical characteristic of ballet companies as institutions, though, is that they are an inescapably collaborative work environment. New works do not get produced before they are scrutinized by multiple people – the dancers, the ballet masters, and the choreographers all feed off one another to create the works we see onstage.
At the risk of stating the obvious, audiences support the ballet by buying tickets to see the outcome of this work. Then seeing this, philanthropy funds the companies, allowing them the stability they need to continue producing entertainment for the community (or at least philanthropy wants to project that message).