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亚搏集团:“经费有限”,极限说唱丨对话《说唱新世代》幕后团队

发布时间:2021-01-31 00:06:01 丨 浏览次数 1003次

When the stage team led by Jin Ting finally collec亚搏视讯ted 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. .

当金鼎领导的舞台团队最终收集了玩家用于战斗的所有原始音乐时,舞台艺术和灯光也被移交了。目前,距离“新一代说唱”的第一集的录音还有两天的路程。 。

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.

这个节目有40个说唱歌手。根据节目时间表,这些球员将在录音的第一阶段完成分组并进行说唱接力比赛。讲师从每个小组中选出3名表现出色的球员参加下一轮战斗。

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.

在两天内完成40个具有自己特征的播放器的舞台设计和生产执行是一项不可能的任务。在说唱接力比赛结束前一分钟,幕后团队无法预测这40名球员中有12名将进入下一轮战斗。

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.

导演团队告诉舞台导演金婷,在正式战斗开始之前,他们只能离开团队,表演导演和灯光老师三个小时,才能为12名玩家创造舞台效果。即使在电视节目制作领域,拥有20多年的实践经验,她也从未经历过如此紧张的境地。

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".

这种极端的行动不仅打破了金亭队的历史记录,而且还打破了“说唱新一代”的“极端说唱”。

The production team behind the scenes assisted the players to complete the new experience of rap and restore the real granularity of life.

幕后制作团队协助玩家完成了新的说唱体验,并恢复了真实的生活颗粒感。

When asked about his daily work in the program group, Jin Ting smiled

当被问到他在程序组中的日常工作时,金婷笑了

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.

这不是导演团队对金婷的强制性要求。实际上,在领导团队多年后,金婷不再需要花时间在一个项目上。但这一次,她留在了录制“说唱新一代”的无锡,并住了三个月。

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.

金婷之所以停留在录音地点,是因为她觉得“表演越多,就越有趣”。通过从事这个项目,她可以在设计舞台时找到纯粹的激情和成就感。

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.

在团队中,金婷的董事为加入说唱音乐做了充分的准备。导演不仅必须了解说唱音乐,还必须熟悉嘻哈文化的历史:从1970年代的美国社会到近年来各国在嘻哈表达上的差异。如果您不做家庭作业,则程序制作中会存在文化差异。

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.

加入小组后,金婷的团队必须首先获取音乐,其次对音乐进行解释,然后与舞台老师(表演导演,灯光,视觉,道具,特效,指南等)进行沟通,安排演出地点角色他们必须与参与舞台领域的老师开会,交流歌曲的色彩和氛围,确定舞台的音调,然后与照明工程师进行模拟和合作。

"Every stage light is made by us and the lighting engineer.

“每个舞台灯都是由我们和照明工程师制作的。

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."

他们肯定会与导演沟通,以协调歌曲中最关键的一点。 “例如,圣代的《雨夜惊魂》,我们告诉导演李庆文,最后我们不要给全景图,而要给他的脸部特写和细节。观众看后才能理解这幅画。圣代的最后一个怪异的微笑。最后的逆转。”

For Jin Ting, the most fulfilling moment is not to see the barrage of "adding chicken legs to lighting/scenery/visual/dance", but

对于金婷来说,最充实的时刻不是看到“在照明/风景/视觉/舞蹈中增加鸡腿”的弹幕,而是

"Do you play games? We do shows, just like playing games, all we need is group combat.

“你玩游戏吗?就像玩游戏一样,我们表演节目,我们所需要的只是群战。

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.

视觉总监唐岩赞扬了金婷对音乐和舞台的敏感。与金庭的长期友谊使他们两个在声光方面合作,形成了高度默契。 “金婷就像我一样,不会画画。”唐Yan说。

However, Tang Yan played the role of "pouring cold water" in the team behind the scenes.

但是,唐岩在幕后团队中扮演了“倒冷水”的角色。

"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."

“我一直在压制他们的过度进攻。”汤岩说:“在第一集中,他们为每首歌做了很多设计,我拼命地进行减法,并迫使它们简化。”

This suppression stems from Tang Yan's philosophy: on the stage, people are always the most important.

这种压抑源于唐Yan的哲学:在舞台上,人永远是最重要的。

The creative principle of the team behind Tang Yan is

唐Yan背后的团队的创新原则是

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.

为了最大程度地“保证人”,唐岩严格规定了编舞团队的工作框架。不要在灯光下玩太多把戏,不要在屏幕上玩玩,只显示歌词和弹幕。由于它是辅助设备,因此只能提供辅助设备,并且所有高光镜头必须保留给ADC播放器使用。

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.

相对而言,对舞台效果的约束也给声音导演张小年带来了更多的空间。录制完演出后,张小年曾在Moments上留言:“新一代说唱”非常重视声音设计。过去,由于审美问题,许多音乐程序都不希望音频设备出现在屏幕上。结果,音频不会被布置在最佳位置,这在一定程度上影响了教师,演奏者和听众的收听体验。

But Tang Yan once said:

但是唐Yan曾经说过:

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.

张小年非常同意。他认为,对于音乐节目,声音必须是第一位的。只有当声音良好时,它才能为演奏者,教练和观众提供听觉刺激,并且可以获得良好的反馈,包括面部表情和身体。他的工作是使用最佳的声音设置,使演奏者觉得自己的歌声非常好。无论客观环境多么恶劣,都要给表演者最大的信心,帮助参赛者完成出色的作品。同时,该节目中的许多球员都是业余选手,有些根本没有舞台经验。如何利用声音引导他们减轻负担并享受舞台,声音团队为此付出了很多努力。

When the entire program group reached a consensus that "people are most important", a wonderful balance was also reached between environment, sound, and vision.

当整个计划小组达成“人是最重要”的共识时,在环境,声音和视觉之间也达到了完美的平衡。

In a chat, Jin Ting and Zhang Xiaonian exchanged some sound confusion. She felt that they were actually doing the same thing:

在聊天中,金婷和张小年交换了一些声音上的困惑。她觉得他们实际上在做同样的事情:

"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."

“我确实觉得他有事要做,他做到了。”金婷说:“我们是一样的。他做声音的声场,我们做舞台的气氛场。我们也希望让玩家感觉我是舞台上的天王星巨星。我非常有力量,喜欢这个阶段的每个方面。每个角落和每个镜头都希望实现这一目标。”

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.

在录制该节目之前,唐'的团队看到了很多录音场所,包括无锡影视基地一些未开放的工作室,但是当他看到工厂大楼的废墟时,就被枪杀了。

"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.

“它真的坏了。起初,这是看不到的。那是一座完全废弃的工厂大楼,需要大量的人力和物力将其转变为唱片基地,所以每个人都有很多担忧。但是我仍然坚持选择它。我觉得这里可以给节目带来新的东西。”唐Yan亚搏视讯说。

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.

在节目组中,唐Yan与首席导演严敏的交流不是特别高。他们在一起工作了多年,对许多事情的默契甚至没有沟通。唐Yan要做的就是将导演小组提出的概念付诸实践,并通过象征性的视觉表达,确保传递“一切可以说唱”的核心主题。由于他坚持要选择废弃的工厂,因此该程序呈现的主题和音调与过去市场上的音乐程序大不相同。

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.

这里和工作室之间的最大区别是工作室中的场景是虚构的,但是废弃的工厂是真实的,并且自然地与室外相连。环顾四周,您会看到最原始的烟囱,工厂,废墟和透气部件。这种通风将为玩家提供一种不同于被封闭在工作室中的质感。

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:

Tang Yan从事该行业已有20年,负责太多人才展览的视觉设计,但他也一直在思考一个问题:

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

被遗弃的工厂具有另一种气质,与极端的精巧不同。就像拍电影一样。有时为了追求更逼真的质感,电影拍摄得不是那么精美,

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".

这也与“说唱新一代”参赛者的音乐创作相吻合。他们不是追求形式上的完美,而是从现实生活和情感中寻找灵感。唐Yan希望他们回到更加栩栩如生的场景,融合创造力和表演力,并传达“一切都可以被掠夺”的背景。

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.

在舞台布置的设计中,唐Yan还创造了一种透气感。唐Yan在自由搏击比赛中使用“八角笼”作为原型来设计玩家的战斗阶段。他想让舞台上充满斗志,但不要那么血腥暴力。因此,他将带刺的铁丝网丢在了八角形的笼子里,用激光束代替了它,然后用声光产生了一种似乎在那里存在的密封效果,但它始终是透气的。

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.

随着节目录制进入最后阶段,玩家将从八角形的笼子迈向更华丽的阶段,并逐渐成长,这是现实生活的另一写照。

For the production of station B programs, the team behind the scenes can get the most direct audience feedback: user barrage.

对于B站节目的制作,幕后团队可以获取最直接的观众亚搏集团反馈:用户弹幕。

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":

与B站合作的除夕晚会的主持人李庆文在录制“新一代说唱”时分享了观看该队的表演的方式:

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.

首先关闭弹幕,干净地看屏幕,然后重新检查整个图片的效果;再次打开半屏弹幕,以查看您有什么样的反馈;有空时再次打开全屏弹幕,使观众对每秒发生的事情最及时的反应。

In his opinion, the barrage is one of the biggest features of station B.

他认为,拦河坝是B站的最大特色之一。

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 surro亚搏集团unds 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 pict亚搏集团ure at station B.

李庆文立即剪了一张照片。他意识到自己可能只会在B站看到这张照片。

Everything can be rapped.

一切都可以说唱。

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.

通过这些弹幕,“说唱新一代”背后的团队可以理解某些事情确实正在发生变化。这是所有参与者共同努力的最好结果。

END

结束

The first new media in the content industry

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