When the stage team led by Jin Ting finally collected all the original music used by the players for the battle, the stage art and lighting were also handed over. At this time, the recording of the first episode of "The New Generation of Rap" is still two days away. .
There are 40 rappers in this show. According to the schedule of the program, these players will complete the grouping in the first phase of the recording and conduct a rap relay competition. The instructors select 3 players with outstanding performance from each group to enter the next round of battle.
It was an impossible task to complete the stage design and production execution of 40 players with their own characteristics in two days. One minute before the end of the rap relay competition, the behind-the-scenes team could not predict which 12 of these 40 players would enter the next round of battle.
The director team told the stage director Jin Ting that before the official battle began, they could only leave their team, show director and lighting teachers three hours to create stage effects for 12 players. Even in the field of TV program production, with more than 20 years of practical experience, she has never experienced such a tense situation.
This extreme operation not only broke the historical record of the Jinting team, but also an aspect of the "extreme rap" of "Rap New Generation".
The production team behind the scenes assisted the players to complete the new experience of rap and restore the real granularity of life.
When asked about his daily work in the program group, Jin Ting smiled
This is not a mandatory requirement for Jin Ting by the director team. In fact, in leading the team for so many years, Jin Ting no longer needs to spend time on a project. But this time, she stayed in Wuxi where "Rap New Generation" was recorded and stayed for three months.
Jin Ting stayed at the recording location because she felt that "the more the show, the more fun it is." Working on this project allowed her to find the pure passion and sense of accomplishment when designing the stage.
Within the team, Jin Ting's directors made full preparations for rap music before joining the group. Directors must not only understand rap music, but also be familiar with the history of hip-hop culture: from the American society in the 1970s to the differences in hip-hop expression in various countries in recent years. If you do not do your homework, there will be a cultural gap in the production of the program.
After joining the group, Jin Ting’s team must first get the music, secondly interpret the music, and thirdly communicate with the stage teachers (show director, lighting, vision, props, special effects, guide, etc.) , Scheduling the position of the character They have to have a meeting with teachers involved in the stage field, communicate the color and atmosphere of the song, determine the tone of the stage, and then simulate and cooperate with the lighting engineer.
"Every stage light is made by us and the lighting engineer.
They will definitely communicate with the director for the most critical point of coordination in a song. "For example, Sundae’s "Fright on the Rainy Night", we told the director Li Qingwen that in the end we must not give the panorama, but to give close-ups and details of his face. The audience can understand this work after seeing Sundae’s last weird smile. The final reversal."
For Jin Ting, the most fulfilling moment is not to see the barrage of "adding chicken legs to lighting/scenery/visual/dance", but
"Do you play games? We do shows, just like playing games, all we need is group combat.
Visual director Tang Yan praised Jin Ting's sensibility for music and stage. The long-term friendship with Jin Ting has allowed the two of them to cooperate with sound and light to form a high degree of tacit understanding. "Jin Ting is like me who can't draw pictures." Tang Yan said.
However, Tang Yan played the role of "pouring cold water" in the team behind the scenes.
"I have been suppressing their excessive play." Tang Yan said, "In the first episode, they made a lot of designs for each song, and I desperately made subtractions and forced them to simplify."
This suppression stems from Tang Yan's philosophy: on the stage, people are always the most important.
The creative principle of the team behind Tang Yan is
In order to "guarantee people" to the greatest extent, Tang Yan strictly stipulated the work framework of the choreography team. Don’t play too many tricks with the lights, don’t play with material on the screen, only show lyrics and barrage. Since it is an auxiliary, only auxiliary equipment can be provided, and all high-light lenses must be reserved for ADC players.
The restraint on stage effects, relatively speaking, also gave sound director Zhang Xiaonian more space. After the show was recorded, Zhang Xiaonian once posted to Moments: "The New Generation of Rap" respects sound design very much. In the past, many music programs did not want the audio equipment to appear in the screen because of aesthetic issues. As a result, the audio would not be arranged in the best position, which affected the listening experience of instructors, players and audiences to a certain extent.
But Tang Yan once said:
Zhang Xiaonian agrees very much. In his opinion, a music program, the sound must be the first. Only when the voice is good can it provide auditory stimulation to the players, instructors, and spectators, and can have good feedback, including facial expressions and body. And his job is to use the best sound settings to make the players feel that they are singing really well. No matter how bad the objective environment is, give the performers the utmost confidence to help the contestants complete good works. At the same time, many players in this show are amateurs, and some have no stage experience at all. How to use sound to guide them to offload and enjoy the stage, the sound team has made a lot of effort for this.
When the entire program group reached a consensus that "people are most important", a wonderful balance was also reached between environment, sound, and vision.
In a chat, Jin Ting and Zhang Xiaonian exchanged some sound confusion. She felt that they were actually doing the same thing:
"I did feel that he had something to do, and he did it." Jin Ting said, "We are the same. He does the sound field of sound, and we do the atmosphere field of the stage. We also want Let the players feel that I am a Uranus superstar on stage. I am very powerful and enjoy every aspect of this stage. Every corner and every shot hopes to achieve this."
Before the program was recorded, Tang Yan's team saw a lot of recording venues, including some unopened studio studios in Wuxi Film and Television Base, but the moment he saw the ruins of the factory building, he was shot.
"It's really broken. At first, it was impossible to see. It was a completely abandoned factory building that needed a lot of manpower and material resources to transform into a recording base, so everyone had a lot of concerns. But I still insisted on choosing it. I feel that here Can bring new things to the show." Tang Yan said.
In the program group, Tang Yan's communication with the chief director Yan Min was not particularly high. They have worked together for many years, and they have a tacit understanding of many things without even communicating. What Tang Yan needs to do is to put the concept put forward by the director group into practice, and through symbolic visual expression, to ensure the delivery of the core theme of "everything can be rap". Since he insisted on choosing the abandoned factory, the theme and tonality presented by this program have been significantly different from those of music programs on the market in the past.
The biggest difference between here and the studio is that the scene in the studio is fictitious, but the abandoned factory is real, and it is naturally connected to the outdoors. Looking around, you can see the most primitive chimneys, factories, ruins, and breathable parts. And this kind of ventilation will give the players a sense of texture that is different from that of being enclosed in a studio.
Tang Yan has been in the industry for 20 years and has been responsible for the visual design of too many talent shows, but he has also been reflecting on one issue:
The abandoned factory has another temperament, which is different from the extreme exquisiteness. It’s like making a movie. Sometimes in pursuit of a more realistic texture, the movie is not so beautifully shot, creating a
This is also in line with the music creation of the "Rap New Generation" contestants. They are not pursuing perfection in form, but digging for inspiration from their real lives and feelings. Tang Yan wants them to return to a more life-like scene, integrate creation and performance, and convey the background of "everything can be rapped".
In the design of the stage venue, Tang Yan also created a sense of breathability. Tang Yan used the "octagonal cage" in the free fight competition as a prototype to design the players' battle stage. He wanted to make the stage have a fighting atmosphere, but not so bloody and violent. So he abandoned the barbed wire in the octagonal cage, replaced it with a laser beam, and used acousto-optic to create a kind of sealing effect that seems to be there, but it is always breathable.
As the recording of the show enters the final stage, the players will step from the octagonal cage to a more gorgeous stage, and gradually grow up, which is another portrayal of real life.
For the production of station B programs, the team behind the scenes can get the most direct audience feedback: user barrage.
Li Qingwen, the director of the New Year's Eve party in cooperation with Station B, shared his way to watch the show for the team when he recorded "The New Generation of Rap":
Close the barrage first, look at the screen cleanly, and re-examine the effect of the whole picture; open the half-screen barrage again to see what kind of feedback you have; open the full-screen barrage again when you have time, full Feel the audience's most timely reaction to what happens every second.
In his opinion, the barrage is one of the biggest features of station B.
The most impressive picture of Li Qingwen was seen while scrolling through the barrage. In the performance of the contestant "Unkillable Subs", his last stage shot was: Subs sitting on the ground. The barrage surrounds Subs, and everyone is sending out "Everything can rap", and Subs is glowing with gold.
在弹幕中看到李清文最令人印象深刻的照片。在参赛者“ Unkillable Subs”的表演中，他的最后一个镜头是：Subs坐在地上。弹幕围绕着Subs，每个人都发出“一切都可以说唱”的声音，Subs散发出金色的光芒。
Li Qingwen immediately cut a picture. He realized that he might only see this picture at station B.
Everything can be rapped.
It is through these barrages that the team behind "Rap New Generation" can understand that something is indeed changing. This is the best result of the joint efforts of all participants.
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