Case Analysis of Large Square Performance (Opening Ceremony of Doha Asian Games)
15 The opening ceremony of the Doha Asian Games was a shocking opening ceremony, with a huge investment of 2.8 billion US dollars, nearly 10 times more than the opening ceremony of the last Busan Asian Games. This opening ceremony is called "the best in the history of the Asian Games" in terms of overall technical level and expression, or innovative production full of high-tech means, and it is unprecedented in the use of multimedia. The largest LED display screen in human history was specially designed for the opening ceremony, with a total size of 10 standard basketball court, a length of157m and a height of 38m. The use of this screen in the opening ceremony is a revolutionary breakthrough, which extends the previous ground picture to the facade space, giving people an absolute "three-dimensional" visual shock. At the same time, it provides a third space stage for the performance and enriches the space for content interpretation. Designers have also made great efforts in the interaction between media and actors. The first scene: the storm scene in the sea of life, because the protagonist found precious pearls, the underwater monster launched an attack on his ship. The image of the monster appeared on the big screen outside the venue, while the protagonist was on the boat in the middle of the stadium. They are in different positions, but they convey the same story to the audience. The interaction between the big screen image and the actors is also full. The monster in the image is waving a steel fork and emitting flames (both appear in the video image). When the flame moves to the edge of the screen, it actually emits a flame from the seam. The flame hit the performance boat in the center of the venue along the wire track, and the boat caught fire immediately. The monster in the image was in high spirits when he saw the ship on fire, and then sent out more flames to attack the ship. At this time, an eagle appeared in the image, fighting with monsters in the sea. Finally, the monster was defeated by the eagle, who flew to the edge of the screen. Then an eagle's mechanism hovered in the air. Finally, the mechanical eagle rescued the protagonist on board, and the interaction with the actor came to an end. In this performance, the interactive relationship between the image on the screen and the actors was brought into full play, which not only brought great visual impact to the audience, but also pushed the whole opening ceremony performance to a climax.
A Case Study of Large Studio: Spring Festival Evening 2007
The performance of the Spring Festival Gala in 2007 was quite wonderful. The reason why the audience can see wonderful programs is inseparable from the overall design of the stage, and the highlight is the high-definition big screen in the back area and on both sides of the stage. On the stage of the Spring Festival Evening in 2007, groups of large background screens changed the theme with the progress of the program and became an inseparable part of the performance. CCTV Spring Festival Evening has determined a fully digital dance beauty scheme, which will combine color screen and big screen. It has the following advantages: First, it shortens the gap between time and space. Through the big screen, many off-site video materials can be integrated into the live effect, such as the video materials of local TV stations in the province. Through large-screen playback, you can complete an interaction on and off the court. Second, enrich the stage effect. The application of color screen can make the background effect move, give people a visual impact and make the whole scene atmosphere more active. Thirdly, digital dance beauty can also give some emotional supplements to live dance. Digital dance beauty can even become the protagonist for a period of time when necessary, enriching the stage elements and giving a certain emotional supplement to the live song and dance performances. Fourth, the digital dance beauty is matched with appropriate effect devices to make the stage really move.
The dance "Rain Lane in a Small Town" is a very artistic work from the creative level, full of aesthetic feeling and poetry. Dancers step by step, as if walking in an alley, it largely depends on a poetic town with a big screen in the background. With the support of live colors and props, it is easy to produce an artistic conception of a rainy town.
In this program, if the camera keeps covering the actors and does not show the entrance of the stage, it will give the audience an immersive feeling, and it is hard to imagine that this is a performance on the stage.
The drizzle, long alleys and big screens, as an important part of the beauty of the dance, have played a great role in setting off the situation of the program, bringing strong visual shock to the audience and adding some surprises. The change from static picture to dynamic picture gives full play to the advantages of large screen. This is a highlight of this Spring Festival Gala.
The pursuit of bright super-large screen, pure color and high-resolution display effect has always been the potential demand of people's visual experience. From the construction of command and control centers and network management centers to the convening of video conferences, academic reports, technical lectures and multi-functional conferences, people are increasingly eager for large screen, multi-color, high brightness and high resolution display effects. The traditional TV wall can hardly meet people's requirements in this respect. In recent years, the rapid rise of large-screen mosaic projection display technology is gradually becoming an effective way to meet this demand. The development of high technology has provided us with a lot of convenience, and the appearance of new media has brought the audience a higher quality feeling.
A Case Study of "Marshall's Illusion" in Drama Stage
Nowadays, it is a general trend that multimedia technology is applied to the drama stage. Marshall's illusion is a multimedia stage play. The performance of this work caused a great sensation in Europe and America. It uses high technology to let the actors go in and out between the movie screen and the stage, and brings an "illusion journey" to the audience through the combination of the actor's body and image. It skillfully and passionately combines drama with film, which brings a unique visual experience to the audience.
The main plot is this: Marshall, a peasant artist with a cheerful and humorous nature, is complaining endlessly about everything when a virus invades his brain, which makes him hysterical. His complaints about the dream interpreter have no effect. Others just comfort him, and the happiness in his dream will surely come. I don't know if someone else or himself has a problem. At the suggestion of a friend, Marshall decided to see someone who might help him. A friend whispered a name and an address in his ear, but the audience couldn't hear him, only knowing that it might be a psychiatrist.
Marshall came to the doctor's waiting room, where the combination of multimedia images and drama began. There is a lady sitting there and they start a conversation. The characters in plays and movies stare at each other and talk, but outside the words, Marshall can't control his thoughts, and those whimsy constantly disturb his spirit (these thoughts will flash on the screen). In the process of dialogue, the obvious fact is that Marshall split into two selves: one is enthusiastic and positive, and the other is negative and irritable. The nurse came to inform them that the "doctor" would be half an hour late, and the lady on the screen used this time to go shopping, leaving Marshall alone.
The core of the story begins here: two Marshall appeared on the stage, one on the screen, one on the stage, one virtual and one real. Realistic Marshall then realized that the waiting room on the screen was exactly the same as his own stage. However, the more Marshall in reality treats everything negatively, the more calm and enthusiastic the virtual Marshall on the screen is, and he is full of curiosity about everything, giving Marshall in reality a new perspective from another positive angle. The two men had a heated argument. Although they have the same memories and recollections, their attitudes towards reality set them against each other. Virtual Marshall's fiancee appeared (the heroine of real Marshall), wearing jeans and sneakers. Marshall immediately began to pray and created romantic lighting effects and stage scenery, but to no avail, the heroine didn't recognize him at all and turned to leave. He is eager to find out where this illusion comes from and why it exists. So the two marshals merged into one and re-formed an individual, dating back to the farther past. A picture of a huge baby appeared. He walked into the photo to retrieve his memory. Just as he was about to remember everything, the lady came back.
At this time, the lady told Marshall that the person he came to see was actually himself, and the waiting room was her treatment room. She didn't actually leave, but hid behind the observation mirror! From the beginning of the play, the wobbly characters came to the waiting room and turned around together to greet the audience! Marshall shouted, this can't be true. He's not acting. This waiting room is real. Confused Marshall couldn't tell the inside and outside of the play, and fell into the bottomless abyss of despair. That night we saw the audience enter the room on the screen, and the performance was going on in a waiting room. Marshall is still imprisoned in his own hallucinations and fantasies, and the clue that can separate dreams from reality has disappeared. Marshall tried his best to get this woman out of his dream, the picture that imprisoned her. The two marshals were once again opposed to himself, and he had to go back to the baby's photo to find the truth. ...
Multimedia drama uses the giant screen on the stage to completely break the virtual and real space of the drama stage. Especially the application of spatial multimedia, with the progress of the performance, the multimedia with great information is transformed and enriched with the cooperation of lighting, which makes the whole performance full. It can be said that in the specific stage space structure, the effects of sound, light and electricity are helpful to realize the externalization of the inner world of the character and bring strong sensory enjoyment and spiritual shock to the audience. In the play, Khroni not only has to be an actor, singer and dancer, but also has a time-space dialogue with another "I" on the movie screen. The most amazing thing is that the actors shuttle freely between the stage and the screen, and the real person and the image change instantly. The movies in the play sometimes change from black and white to color, and sometimes from realistic images to flash animation, just like magic. As Adolf Appiah, the reformer of the European drama movement, once said in the book Music and Stage Art, "Only the scenery based on the plot and external image can make the audience directly appreciate the heart and soul contained in the drama." The application of multimedia in drama creatively uses the unique artistic language of stage art to reveal its theme and connotation. In the drama, drama, film and music are completely integrated, and they all become the manifestations of works. Marshall's Fantasy, written in 2003, is a masterpiece and summary work of multimedia drama.
A Case Study of TV Documentary The Rise of Great Powers
In 2007, the use of special effects in CCTV's hit documentary The Rise of Great Powers caused quite a stir. I happened to have a project contact with Crystal Stone Technology Development Co., Ltd. and learned some information from it. Here, I will make a simple analysis of the special effects part of this film.
In the history of modern world development, there have been nine world powers: Portugal, Spain, the Netherlands, Britain, France, Germany, Japan, Russia and the United States. They created their own glories in different historical periods. The large-scale 12-episode TV documentary "The Rise of Great Powers" produced by CCTV Economic Channel for three years shows the road for these nine countries to become powerful countries.
The special effects of this project were completed by the computer special effects department of Crystal Stone. They participated in more than 50 minutes of special effects production, including pre-test and a * * * production, which took 5-6 months. There are not only pure three-dimensional production in special effects, but also three-dimensional and two-dimensional production combined with real shooting. The conventional technologies used are ocean, fluid, particle and so on. There are also some difficulties in the production process, and it takes a lot of debugging time to achieve the effect of the ocean and meet the requirements of the director.
The effect of the ocean is to use MAYA's own functions. The technology is early and difficult, mainly because the scene is very big. The whole scene is completely three-dimensional, not combined with the real ocean. Other domestic companies have made similar three-dimensional oceans, but they are not very beautiful. Crystal Stone focuses on dynamics, fluids and particles. After continuous communication with the director and continuous testing, it finally achieved better results. The feeling of splashing water when seawater collides with the hull is more real.
Another thing worth mentioning is the conversion effect between two-dimensional and three-dimensional. Crystal stone spent a lot of time to realize the conversion between two-dimensional and three-dimensional, mainly to convey the design information to the audience more effectively, and another reason is to maintain visual coherence and some fresh feelings for the audience to see, think and enjoy.
In the scene of storming the Bastille, one shot has three passes. From two-dimensional oil painting to three-dimensional, and back to two-dimensional oil painting. The movement and placement of the lens are strictly controlled, and short details are interspersed into a long lens. Three-dimensional lens expression is very free, which can make up for some effects that can't be achieved by real shooting.
The design idea is as follows: at the beginning of the camera, take a photo of Louis XVI's notebook, "Tuesday, 14, nothing"; Open the famous oil painting Bastille. Continue to push forward, the oil painting is transformed into a three-dimensional Bastille scene, angry people and militia move forward, the camera rolls, explosions and smoke cover ... When the camera is pushed away from the smoke, the revolutionary people in Paris occupy and begin to tear down the Bastille, which symbolizes the feudal monarchy; The lens is pulled out and the demolished three-dimensional scene is transformed into another oil painting.
The producer's specific work is to find the pictures of Paris and the Bastille at that time from the determination of these two oil paintings, and to establish a three-dimensional model based on the Bastille. Then set the camera animation, which is a difficult and important part. In order to make the three-dimensional shooting angle coincide with the oil painting, the producers adjust the camera by hand, and constantly adjust the model material and modeling according to the gap between the three-dimensional model and the oil painting, so as to get a consistent picture composition effect. Another problem is that although the three-dimensional model matches the first oil painting, it is far from the second oil painting. Finally, the producer adjusted the composition problem through model animation, that is, set key frame animation for the three-dimensional modeling of the Bastille to match the first oil painting at the beginning. When the lens turns to the second oil painting, the model has been animated and completely matches the next oil painting.
In terms of special effects, The Rise of Great Powers is a well-made documentary in China. The whole film is interspersed with many two-dimensional and three-dimensional special effects, which increase the impact and appeal from the visual and auditory aspects, give the audience a refreshing feeling like a foreign blockbuster, inject new vitality into the relatively simple and boring film and television form of documentary, and win more audiences for it. This is also a special expression of multimedia art.
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China's multimedia art has experienced the development process from imitation to originality, from part to whole, from singleness to pluralism, and is entering a new stage of all-round and rapid development. Multimedia art is the product of the combination of contemporary information science and technology and art. Multimedia technology is very important for multimedia art, which not only increases the artistic expression, but also achieves many effects that ordinary methods can not achieve. However, the most important technology is only a means, which can construct the "shape" of multimedia art, but the exploration and innovation of artists finally endow multimedia art with a unique "spirit". The future multimedia art will be closer to our life, study and work, and will be an important means of information exchange in the future. Multimedia technology will be integrated with more newer technologies, and its future development prospect will be broader and its content will be richer. Now its technical improvement and innovation are closely related to the technical development of computers. Multimedia art is attached to the development of multimedia technology and has unlimited vitality. Today's multimedia art is still in its infancy, which requires us to think and shape more creatively.