CLOUD SHOWS- A tendência Durante a epidemia

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.

O concerto em linha foi produzido no local por Damai e foi descarregado no Youku tube. O diretor geral, o planeamento, a produção e a conceção do palco estão a cargo do S.A.G Stage Art Working Group. Show Plus é responsável pela conceção do palco e presta apoio técnico. A equipa de filmagem está a cargo de Ji Shuzhai. Além disso, o concerto convidou duas equipas internacionais de design a participar. O artista visual francês dos novos media Roman Tadi é responsável pela produção de materiais VJ e os efeitos de palco exclusivos são concebidos para Naiwan; em termos de design de estilo, a estilista da rainha Billie Eilish, Lisa Katnick, é a diretora de estilo para personalizar o visual exclusivo de Nina Wan .

As bênçãos da excelente equipa de bastidores tornaram esta atuação cheia de espetáculo. Entrevistámos o diretor executivo da S.A.G, Yang Tsi, e percorremos os bastidores deste super concerto online.

Conceito do tema - Conhecer-me a mim próprio

“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.
 Combinação de gravação e ao vivo

O concerto adopta o modo de produção de transmissão ao vivo + gravação, permitindo ao público desfrutar do festim audiovisual e, ao mesmo tempo, ter interações interessantes e inovadoras com os ídolos através da 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.

A fim de equilibrar os efeitos da gravação e da transmissão em direto, a equipa de produção é também bem aconselhada na conceção das posições das câmaras, das imagens e do som.

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

Todo o concerto utiliza técnicas narrativas semelhantes às do cinema, contando uma série de 10 canções originais de Nina, quebrando a tradicional contenção do palco, incorporando arte de instalação e apresentando efeitos performativos em várias cenas

O cenário divide-se principalmente na área do palco, na área da luz do palco matriz e na área da estrutura de aço. Áreas diferentes têm papéis diferentes em canções diferentes.

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.

Este ano, a S.A.G planeou com sucesso uma série de eventos de transmissão em direto online. O diretor Yang Zi acredita que a transmissão em direto online é cada vez mais interessante! Em primeiro lugar, a nível operacional, libertou-se dos grilhões dos locais e palcos tradicionais de atuação, e o planeamento da cena durante as actuações pode ser inovado de várias formas. Há também uma grande liberdade para as actuações dos artistas.

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.

No que diz respeito à indústria, em tempos difíceis, como último recurso, toda a indústria precisa de se desenvolver e explorar a inovação. A transmissão em direto resolveu problemas reais e fez com que toda a gente reexaminasse a integração do espetáculo musical e da Internet. E, olhando para o futuro, quando tudo for normal, o offline e o online são igualmente importantes e paralelos, para que a indústria de espectáculos musicais se desenvolva melhor.