CLOUD SHOWS- La tendance Pendant l'épidémie

Half a month before the official performance, Nina Wan announced his first concert on Twitter, the “Meet Yourself” super online concert. After the concert was broadcast online on July 26, it received a lot of praise and recommendations, and the topic received 120 million readings, which caused heated discussions.

Le concert en ligne a été produit sur place par Damai et a été diffusé sur Youku tube. La direction générale, la planification, la production et la scénographie sont confiées au groupe de travail S.A.G Stage Art Working Group. Show Plus est responsable de la conception de la scène et de l'assistance technique. L'équipe de tournage est dirigée par Ji Shuzhai. En outre, le concert a invité deux équipes de conception internationales à se joindre à l'événement. L'artiste visuel français Roman Tadi est responsable de la production du matériel VJ, et les effets scéniques exclusifs sont conçus pour Naiwan ; en ce qui concerne le stylisme, la styliste reine de Billie Eilish, Lisa Katnick, est directrice du stylisme pour personnaliser le look exclusif de Nina Wan.

La bénédiction de l'excellente équipe en coulisses a rendu cette performance pleine de spectacle. Nous avons interviewé le directeur général de S.A.G, Yang Tsi, et nous sommes entrés dans les coulisses de ce super concert en ligne.

Thème conceptuel - Rencontre avec moi-même

“The theme of the concert “Meet Yourself” is an extension of Nina’s personality. Because Nina is a rap singer, she has many distinctive songs, and she has her own youthful and lively charm to stand out in the show “Youth with You 2”. So we want to create a feeling of “two-sidedness is ten thousand”, let her use very cool dress to express some “dark” and “cyberpunk” feelings, and express some lighter music with a youthful and beautiful feeling, while showing she has different characters that are feminine, tough and handsome. “Director Yang Tsi explained.
 In addition, Yunoman completed the monologue concert lead video, expressing his attitude of mastering his life through puppets: “I learn to manipulate puppets and learn to make puppets, but I never do “puppets”.” This also returns to the theme of this concert, meeting myself.
 Combinaison de l'enregistrement et du direct

Le concert adopte le mode de production diffusion en direct + enregistrement, ce qui permet au public de profiter du festin audiovisuel tout en ayant des interactions intéressantes et novatrices avec les idoles par le biais d'Internet !

Yang TSi said that as an artist and the main creative team, of course, I hope that the quality of the performance is guaranteed. This is the reason why we use the recording + post-production method for the music performance. In the form of live broadcast, the audience is more concerned about “interaction”, which can connect through the screen, and communication is one of the core of live broadcast. Therefore, we recorded the performance content to ensure the quality of the music performance. Then, in a place similar to a movie theater, Yunoman and her friends watched the recorded performance with online audiences, and interacted with the audience. Part is live broadcast. Even after Naoman recorded the performance, she never watched the recording. It was also very special for her to watch the video of her performance on the spot for the first time.

In this combination of live broadcast + recording, Damai and Youku tube also designed audience options during the live broadcast. The audience can click on the music performance screen or click “Nina to watch their performance in real time”. This is also a new viewing experience.

Afin d'équilibrer les effets de l'enregistrement et de la diffusion en direct, l'équipe de production est également bien conseillée dans la conception des positions de caméra, des images et du son.

Yang Tsi said that recording and broadcasting can make the lens language more meticulous. For example, when we are recording, we first bring the camera to rehearse, and then watch the playback immediately with the shooting team, adjust the camera connection, and design the shooting more carefully in terms of the music rhythm and the switching of the shots in the music paragraph, so that the picture is Music rhythm is more related. In terms of sound, live sound reception is still the same process, but we don’t need to do live mixing in real time, we can record sub-tracks and mix in the recording studio, so that the sound polishing is more refined. But our team does not want to be too extreme, do not want to make the details like shooting MV, after all, performance is different from MV. Therefore, the overall presentation of the recording and broadcasting of this music performance is “more detailed than real-time performance but not too much.” This way the audience can still feel the continuity of the performance when watching

    Song’s stage design creativity

L'ensemble du concert utilise des techniques narratives de type cinématographique, racontant une série de 10 chansons originales de Nina en brisant les contraintes traditionnelles de la scène, en incorporant des installations artistiques et en présentant des effets de performance dans de multiples scènes.

La scène est principalement divisée en trois parties : la zone de la scène, la zone de l'éclairage matriciel de la scène et la zone de la charpente métallique. Les différentes zones ont des rôles différents selon les chansons.

The first two songs, “done” and “1/9” are cool styles. The director team hopes to make this cool even higher, and make the performance look full of dark and cyberpunk through the use of actors, led matrix moving head lights, iron frames and other dance methods.

In the first song “done”, a magical scene and a resurrection plot, Nina is lying on a bed surrounded by actors with strange shapes and masks, creating a mysterious atmosphere. Surrounded by led matrix moving head lights with changing colors, the photoelectricity is mobilized to gather in a small area to build a unique scene, giving the audience the ultimate audio-visual experience. Utilizing the intensity and weak angle of the lighting to create a mysterious and magical alternative space.

“1/9” is performed by Nina in a wash light-stained iron frame. Nina sang and walked through the steel frame area, and even added a “crawling on the ground” scene to increase the mysterious dark effect.

It wasn’t until the third song that the audience thoroughly saw all the venues for the performance. “One Stroke” is an antique cool song full of Chinese elements. We use “silk punk” as the concept, and the red curtain as the “court curtain”. A Chinese palace lantern, a wooden grille with Chinese elements, adapted to the Chinese style of the song. Because Nina is a native of Xi’an, the visual materials produced by the international artist French Roman, especially the terracotta warriors and drum towers in Xi’an, are also unique in the costume design. Modern integration with cyberpunk.

Nina changed into a more beautiful costume and sang several fresh songs in a row. The adapted version of “I don’t wanna see u anymore” also uses grand pianos and candlesticks to create atmosphere.

The last song “but u” joined the live band, Nina also personally arranged the microphone stand, decorated with lace, butterflies and other elements, the last shot Nina lying in the flowers, the creative idea of this “flower” is also Nina herself Designed, beautiful and romantic. The production team is completely using the skills of filming to schedule the camera positions, allowing the audience to follow the lens and immerse themselves in the beautiful pictures and Nina’s singing.

“On the whole, the props, stage lighting, and stage art used in this performance are actually not the latest and most expensive equipment. We still pursue the use of common materials to form an exquisite performance content, and add more to the performance. The soft “creative”, in “dear X” is Wanbian singing while “removing makeup”. The props only use a film and television lamp, but this song uses minimalism.” Yang Tsii said about the design of each song.

    Live online and offline performances- The core is “people”

Speaking of the highlights of this concert, director Yang Tsi said frankly that the biggest highlight is Nina herself. We knew her before she became a “popular” on the TV show. I think her stage performance and singing skills are very good! Like a dancer’s dance, she just watched it on the day of the recording, and then she could join directly. Her confident eyes when facing the camera and her interaction with the camera are improvised, which shows her performance skills and professionalism. I feel that in this era when new and upgraded technology changes the performance of stage art equipment, the expressiveness of artists will always be the core. After all, we still serve “people” in stage art production.

S.A.G a planifié avec succès un certain nombre d'événements de diffusion en ligne cette année. Le directeur Yang Zi estime que la diffusion en direct en ligne est de plus en plus intéressante ! Tout d'abord, au niveau opérationnel, elle s'est affranchie des contraintes des lieux de représentation et des scènes traditionnelles, et la planification de la scène pendant les représentations peut être innovée de diverses manières. Il y a également une grande liberté pour les performances des artistes.

In a larger concept, live broadcast is different from offline. We consider the audience’s experience more. We will pay more attention to creativity and continuity, as well as the continuous creation of “new ideas”, and eliminate the “channel switching” and the prone to mobile phones + earphones. “fatigue”. After all, in any case, live broadcast cannot solve the offline atmosphere and the “tension” of live sound pressure.

En ce qui concerne le secteur, en période difficile, en dernier recours, l'ensemble du secteur doit se développer et explorer l'innovation. La diffusion en direct a résolu des problèmes réels et a amené tout le monde à réexaminer l'intégration de la musique et de l'internet. Dans l'attente d'un avenir où tout sera normal, le hors ligne et l'en ligne seront tout aussi importants et parallèles, de sorte que le secteur des spectacles musicaux se développera mieux.