クラウド・ショー-流行の兆し

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.

オンラインコンサートはダマイが現地で制作し、Youku tubeに上陸した。総合演出、企画、制作、舞台美術はS.A.G舞台美術ワーキンググループが担当。ショープラスは舞台美術を担当し、技術的なサポートを提供する。撮影チームはチ・シュザイが担当。さらに、今回のコンサートでは2つの国際的なデザインチームを招聘した。フランスのニューメディア・ビジュアル・アーティスト、ロマン・タディがVJ素材の制作を担当し、ナイワンのために特別なステージ効果をデザインした。スタイリング・デザインの面では、ビリー・エイリッシュのクイーン・スタイリスト、リサ・カトニックがスタイリング・ディレクターを務め、ニーナ・ワンのために特別なルックをカスタマイズした。

優秀な舞台裏チームの祝福が、この公演をスペクタクルなものにした。チーフ・ディレクターのS.A.G CEOヤン・ツィにインタビューし、このスーパー・オンライン・コンサートの舞台裏を歩いた。

テーマコンセプト-自分自身との出会い

“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.
 ライブ＋レコーディングの組み合わせ

このコンサートは、生放送＋録画という制作モードを採用しており、観客はオーディオビジュアルの饗宴を楽しみながら、インターネットを通じてアイドルと興味深く斬新な交流をすることができる！

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.

収録と生中継の効果を両立させるため、制作チームはカメラ位置、映像、音響の設計にも精通している。

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

コンサート全体は、映画のような物語性のある手法を用い、ニーナが10曲のオリジナル曲を、伝統的な舞台の拘束を打ち破り、インスタレーション・アートを取り入れ、複数のシーンでパフォーマンス効果を見せるというストーリーテリングで構成されている。

シーンは主にステージエリア、マトリックスステージライトエリア、鉄骨エリアに分かれている。それぞれのエリアは曲によって役割が異なる。

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は今年、数多くのオンライン・ライブ放送イベントを企画し、成功を収めた。楊志ディレクターは、オンライン・ライブ放送はますます面白くなると考えている！まず、運営レベルでは、伝統的な公演会場やステージの束縛から解き放たれ、公演中のシーンプランニングもさまざまに革新できる。アーティストのパフォーマンスの自由度も高い。

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.

業界に関する限り、困難な時代には、最後の手段として、業界全体が発展し、革新を模索する必要がある。ライブ放送は現実の問題を解決し、音楽演奏とインターネットの融合を皆に再検討させた。そして、すべてが正常になる未来を見据えて、オフラインとオンラインは等しく重要であり、並行することで、音楽演奏業界はより良い発展を遂げるだろう。