클라우드 쇼- 대유행 기간 동안의 트렌드

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.

이 온라인 콘서트는 다마이가 현장에서 제작하여 유쿠 튜브에 올렸습니다. 전체 연출, 기획, 제작, 무대 디자인은 S.A.G 스테이지 아트 워킹 그룹이 담당합니다. 쇼 플러스는 무대 디자인을 담당하고 기술 지원을 제공합니다. 촬영은 지슈자이가 담당합니다. 또한 이번 콘서트에는 두 개의 국제 디자인 팀을 초청했습니다. 프랑스 뉴미디어 비주얼 아티스트 로만 타디(Roman Tadi)가 VJ 자료 제작을 담당하고 나이완 전용 무대 효과를 디자인했으며, 스타일링 디자인은 빌리 아일리시 여왕 스타일리스트 리사 캐트닉(Lisa Katnick)이 스타일링 디렉터로 니나 완 전용 룩을 맞춤화했습니다.

뛰어난 비하인드 팀의 축복 덕분에 이 공연은 볼거리로 가득했습니다. 양치(Yang Tsi) 수석 감독을 인터뷰하고 이 슈퍼 온라인 콘서트의 비하인드 스토리를 들어보았습니다.

테마 컨셉- 나를 만나다

“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.
 라이브 + 녹화 결합

이 콘서트는 라이브 방송 + 녹화라는 제작 방식을 채택하여 관객들이 시청각의 향연을 즐기면서 인터넷을 통해 아이돌과 흥미롭고 혁신적인 상호 작용을 할 수 있습니다!

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.

녹화 및 생방송의 효과의 균형을 맞추기 위해 제작팀은 카메라 위치, 이미지 및 사운드의 디자인에도 신중을 기합니다.

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

전체 콘서트는 영화와 같은 내러티브 기법을 사용하고, 니나가 10곡의 오리지널 곡을 스토리텔링하여 기존의 무대 제약을 깨고 설치 미술을 통합하고 여러 장면에서 공연 효과를 선보입니다.

장면은 크게 무대 영역, 매트릭스 무대 조명 영역, 철골 프레임 영역으로 나뉩니다. 각 영역은 곡에 따라 역할이 다릅니다.

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.G는 올해 여러 온라인 라이브 방송 이벤트를 성공적으로 기획했습니다. 양지 감독은 온라인 라이브 방송은 하면 할수록 더욱 흥미로워진다고 믿습니다! 우선 운영 측면에서는 전통적인 공연장과 무대의 속박에서 벗어나 공연 중 장면 기획을 다양한 방식으로 혁신할 수 있습니다. 아티스트의 공연에도 많은 자유가 주어집니다.

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.

업계에 관한 한, 어려운 시기에는 최후의 수단으로 업계 전체가 혁신을 개발하고 탐구해야 합니다. 라이브 방송은 실제 문제를 해결하고 모두가 음악 공연과 인터넷의 통합을 재검토하게 만들었습니다. 그리고 모든 것이 정상화되고 오프라인과 온라인이 똑같이 중요하고 평행 한 미래를 기대하여 음악 공연 산업이 더 잘 발전 할 수 있기를 기대합니다.