The multimedia art that people talk about today has developed quite maturely. Hypertext that combines video, sound, and text can not only be linked to endless other texts, but can also be entered through multiple paths. And the interactivity it provides is almost endless. The main characteristics of multimedia art are reflected in the following points: First, it has strong virtuality. This kind of virtuality is manifested in the construction of unreal illusions through multimedia art, and unreal assumptions and fictions about current issues; secondly, it is profoundly conceptual. This kind of conceptual expression is conceptual art conveyed by artists through sound art, video art, interactive installations and photography; thirdly, it has broad publicity. Multimedia art uses various means such as television, video, and the Internet to actively participate in popular culture and consumer culture, getting rid of personal privacy and narrowness, and has a strong influence on public culture; fourth, It has strong timeliness and popularity. Multimedia art is often good at grasping fashionable topics and cultural hot issues, reporting and disseminating them in a timely, effective and efficient manner. Its artistic symbols can easily be integrated with popular culture, thus becoming a pioneering and avant-garde art style. Currently, artists are restricted by many factors in the creative process and cannot maximize the characteristics of multimedia art. Only through continuous experimentation and exploration can multimedia art, an emerging art form, be better integrated with existing art forms. combination. The following is an analysis of the current application status of multimedia art through several cases.
Case analysis of large-scale square performances (Doha Asian Games opening ceremony)
The opening ceremony of the 15th Doha Asian Games was a shocking opening ceremony, with an investment of 2.8 billion The huge investment in U.S. dollars was nearly 10 times more than the investment in the opening ceremony of the last Busan Asian Games. From the overall technical level and form of expression, from the production full of innovative high-tech means, this opening ceremony can be called "the best in the history of the Asian Games", and the use of multimedia is also unprecedented. The largest LED display screen in human history is as large as 10 standard basketball courts, 157 meters long and 38 meters high. It was specially made for the opening ceremony. The use of this screen in the opening ceremony was a revolutionary breakthrough. It expanded the previous ground-based images to the facade space, giving people an absolutely "three-dimensional" visual shock. At the same time, it provides a third space stage for performances and also enriches the space for content interpretation. The designers have also put a lot of effort into the interaction between the media and the actors. In the first act: the storm scene in the Sea of ??Life, because the protagonist has collected precious pearls, underwater monsters attack his boat. The image of the monster Appearing on the big screen outside the venue, the protagonist is on the boat in the center of the stadium. The two are in different positions, but they convey the same storyline to the audience. The interaction between the images on the big screen and the actors is also very sufficient. The monster in the image swings a steel fork to emit a stream of flames (all of which appear in the video). When the flames move to the edge of the screen, the connection is real. Fired out a stream of flames. The flames followed the wire track and hit the performing boat in the center of the venue. The boat immediately caught fire. The monster in the image looked triumphant when seeing the boat on fire, and then sent out more flames to attack the boat. At this time, an eagle appeared in the image fighting with a monster in the sea. In the end, the monster was defeated by the eagle, and the eagle flew to the edge of the screen. Then a mechanical device of an eagle appeared in the field, hovering in the air. Finally, the mechanical eagle After rescuing the protagonist on the ship, the interaction between the screen and the actors comes to an end. In this performance, the interactive relationship between the images on the screen and the actors was fully utilized, which not only brought a great visual impact to the audience, but also brought the entire opening ceremony performance to a climax.
Large-scale studio case analysis: 2007 Spring Festival Gala
The performance of the 2007 Spring Festival Gala was quite exciting. The reason why the audience could see the wonderful programs was closely related to the overall performance of the stage. The design is inseparable, and the highlight is the high-definition large screens in the back area of ??the stage and on both sides. On the 2007 Spring Festival Gala stage, multiple sets of background large screens changed themes as the program progressed, becoming an integral part of the performance. The CCTV Spring Festival Gala has decided on a fully digital stage design plan. The fully digital stage design will be combined with color screens and large screens. It has the following advantages: First: shortening the time and space gap.
Through the large screen, many off-site video materials can be integrated into the on-site effect. For example, the video materials of local TV stations across the province can be played on the large screen to complete an interaction inside and outside the site. Second, enrich the stage effect. The use of color screens can make the background effects move, giving people a visual impact and making the entire scene atmosphere more active. Third, digital stage beauty can also add a certain emotional supplement to live singing and dancing. Digital stage beauty can even become the protagonist for a period of time when necessary, enriching the stage elements and giving a certain emotional supplement to live singing and dancing performances. Fourth, digital stage design combined with appropriate effect devices makes the stage truly move.
From a creative perspective, the dance "Small Town Rain Alley" expresses beauty and poetry, and is a very artistic work. The dancers move one step at a time, as if they are walking in an alley. It relies heavily on the poetic small town on the large screen in the background. With the support of on-site colors and props, it is easy to create the artistic conception of a rainy alley in a small town.
In this show, if the camera always covers the actors and does not expose the proscenium edge of the stage, it will give the audience an immersive feeling. It is difficult to imagine that this is a scene on the stage. performance.
The drizzle, the leisurely alleys, and the large screen, as an important part of the stage design, played a great role in setting off the show's situation, bringing a strong visual shock to the audience and adding a bit of surprise. The transition from static pictures to dynamic pictures takes full advantage of the large screen. This is a highlight of this Spring Festival Gala.
The pursuit of bright and large images, pure colors and high-resolution display effects has always been a potential requirement for people's visual experience. From the facility construction of command and monitoring centers and network management centers to the holding of video conferences, academic reports, technical lectures and multi-functional meetings, people are increasingly eager for large screens, multi-colors, high brightness and high-resolution display effects. The stronger. Traditional video walls are difficult to meet people's requirements in this regard. The recent rapid rise of large-screen splicing projection display technology is gradually becoming an effective way to meet this demand. The development of high technology has provided us with many conveniences, and the emergence of new media has brought a higher quality experience to the audience.
Drama Stage Case Analysis "Marshall's Illusion"
The application of multimedia technology to the theater stage has become a common trend today. "Marshall's Illusion" is a multimedia stage play. The performance of this work caused a huge sensation in Europe and the United States. It uses high technology to allow the actors to go between the movie screen and the stage. Through the combination of the actor's body and the image, it brings a unique experience to the audience. A "journey of hallucinations" that subtly and passionately combines theater and film into one, bringing a strange visual experience to the audience.
The main plot is this: Marshall, a country bumpkin artist with a cheerful and humorous nature, was complaining and complaining about everything, when a virus invaded his brain, making him hysterical. His complaints to the dream interpreter had no effect. Others just comforted him and said that the happiness in the dream would definitely come. Curious to find out whether it was someone else or himself who was at fault, Marshall, on the advice of a friend, decided to meet someone who might be able to help him. The friend whispers a name and address into his ear, which the audience cannot hear except that it may be a psychiatrist.
Marshall arrives in the doctor’s waiting room, where the combination of multimedia images and drama begins. There was a woman already sitting there (on the screen) and a conversation started between them. Characters in plays and movies look at each other and talk to each other, but outside of words, Marshall cannot control his thoughts, and those strange thoughts continue to disturb his spirit (these thoughts will flash on the screen). During the course of the conversation, it became apparent that Marshall had split into two selves: his former passionate, positive and optimistic self, and his current passive and irritable self. The nurse came to inform them that the "doctor" would be half an hour late, and the woman on the screen took the time to go shopping, leaving Marshall alone.
The core of the story starts here: two Marshalls appear on the stage, one on the screen and one on the stage, one virtual and one real. The real-life Marshall then realized that the waiting room on the screen was exactly the same as the stage he was on. However, the more negatively the real Marshall treats everything, the more calm, passionate, and curious the virtual Marshall on the screen is, and redefines the issues that the real Marshall has thought about from a positive perspective. point of view. The two had a heated argument.
Although they have the same memories and memories, their attitude towards reality puts them against each other. The virtual Marshall's fiancée appears (the real-life Marshall's heroine), wearing jeans and sneakers. Marshall immediately began to pray and created romantic lighting effects and stage settings, but these were of no avail. The heroine did not recognize him at all and turned away. He desperately wanted to understand where this hallucination came from and why it existed. So the two Marshalls merged into one, re-formed as an individual, and went back further into the past. A picture of a giant baby appears, and he walks into the picture to retrieve his memory, and just when he is about to remember everything, the lady returns.
At this time, the lady told Marshall that the person he came to see was actually her, and that the waiting room was her treatment room. She did not actually leave, but hid behind the observation mirror! All the characters who appeared at the beginning of the play came to the waiting room, turned to the audience together, and said hello! Marshall yelled, this can't be real, he's not acting, this waiting room is real. The confused Marshall couldn't tell the difference between the inside and outside of the play, and fell into a bottomless abyss of despair. We see on the screen the audience entering that night, and the performance is taking place in a waiting room. Marshall is still imprisoned in his own hallucinations and fantasies, and the trace that can separate dreams and reality has disappeared. Marshall tried his best to get the woman out of his dream, the image that imprisoned her. The two Marshalls confronted each other again, and he had to go back to the picture of the baby to find the truth...
The multimedia drama borrowed a giant screen on the stage, completely breaking the virtual and real space of the drama stage. . Especially the application of spatial multimedia, the use of multimedia with a large amount of information will change richly with the cooperation of lighting as the performance progresses, making the entire performance full. It can be said that in a specific stage space structure, the effects of sound, light, and electricity help realize the external expression of the character's inner world, bringing strong sensory enjoyment and spiritual shock to the audience. In the play, Hrouni not only has to play the multiple roles of actor, singer, and dancer, but also has a space-time dialogue with another "me" 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 are transformed in an instant. The movies in the play sometimes change from black and white to color, and sometimes from realistic images to flash animations, just like magic. As Adolf Appia, the reformer of the European drama movement, once said in his book "Music and Stage Art": "Only the scenery and external images based on the plot can make the audience directly aware of the heart and soul contained in the drama. ". The application of multimedia in drama makes use of the unique artistic language of stage art to creatively reveal its themes and connotations. In the play, drama, film and music are completely integrated, and they all become the expression of the work. "Marshall's Hallucination", created in 2003, is a representative and summative work of multimedia drama.
A case study of TV documentary: "The Rise of Great Powers"
The use of special effects in the documentary "The Rise of Great Powers", which was broadcast on CCTV in 2007, caused quite a stir. I was lucky enough to be in a We had contact with Crystal Stone Technology Development Co., Ltd. on the project and got some internal information. Here is a brief analysis of the special effects part of this film.
In the history of modern world development, nine world powers have emerged successively: Portugal, Spain, the Netherlands, the United Kingdom, France, Germany, Japan, Russia and the United States. They created their own glory in different historical periods. "The Rise of Great Powers" - a large-scale 12-episode TV documentary filmed and produced by China Central Television's Economic Channel over a period of three years. It shows the journey of these nine countries to become powerful nations.
The special effects for this project were completed by the "Crystal Stone" computer stunt department. The special effects part they participated in produced lasted for more than 50 minutes, and it took 5-6 months including preliminary testing and production. Special effects include not only pure three-dimensional production, but also production that combines three-dimensional and two-dimensional, and real shooting. Conventional techniques used include sea, fluid, particles, etc. We also encountered some difficulties during the production process. It took a lot of debugging time to achieve the effect of the ocean in order to meet the director's requirements.
The ocean effect is based on the function that comes with MAYA. The technology is relatively early and difficult, mainly because the scene is very large. The entire scene was completely realized in three dimensions and was not combined with the real-life ocean. Other domestic companies have also made similar fully three-dimensional oceans, but they are not very sophisticated.
"Crystal Stone" was mainly tested continuously in terms of dynamics, fluids, and particles. After continuous communication with the director and continuous testing, it finally achieved a better effect. The feeling of seawater hitting the hull and splashing is more realistic.
It is also worth mentioning the conversion effect between two-dimensional and three-dimensional. Crystal Stone spent a lot of time switching between two-dimensional and three-dimensional shots, mainly to convey the designed information to the audience more effectively. Another reason is to keep the vision coherent and have some fresh feelings, so that the audience can See something, think about it, and enjoy it.
In the storming of the Bastille scene, there are three penetrations in one shot. Pushing forward from the two-dimensional oil painting, it becomes three-dimensional, and the camera turns back and it becomes a two-dimensional oil painting again. The movement and placement of the lens are strictly controlled, using short detailed shots to be interspersed into a long shot. The three-dimensional lens is very free in expression and can make up for some effects that cannot be achieved in real shooting.
The design idea is as follows: the shot begins with the shot of Louis XVI’s notepad, “Tuesday, the 14th, nothing”; it opens with the famous oil painting of “The Storming of the Bastille”, and continues to move forward , the oil painting was transformed into a three-dimensional scene of the Bastille, with the angry crowd and militia moving forward, the camera panning to take a panoramic view, explosions and smoke shrouded... When the camera pushed away from the smoke, the Paris revolutionary crowd occupied and began to demolish the feudal royal power The symbol of Bastille; the camera pulls out, and the three-dimensional scene of demolition is transformed into another oil painting.
The specific work of the production staff started from identifying these two oil paintings, searching for picture data of Paris and Bastille at the time, and building a three-dimensional model mainly of Bastille. Then set up the camera animation, which is the more difficult and important part. In order to make the three-dimensional shooting angle consistent with the oil painting, the production staff used purely manual adjustments to adjust the camera, and constantly adjusted the model material and shape according to the gap between the three-dimensional model and the oil painting to achieve a consistent picture composition. Another difficulty that emerged was that although the 3D model matched the first oil painting, it was far from the second oil painting. In the end, the production staff used model animation to adjust the composition problem, that is, setting key frame animations for the Bastille's 3D shape. Let it match the first oil painting at the beginning. When the camera switches to the second painting, the model has completed the animation deformation and completely matches the next oil painting.
The special effects of "The Rise of the Great Powers" are considered to be relatively well-produced documentaries in China. There are many two-dimensional and three-dimensional special effects interspersed throughout the film, which adds a lot of visual and auditory impact. and appeal, giving the audience a refreshing feeling like a foreign blockbuster, injecting new vitality into the documentary, a relatively simple and boring film and television form, and winning more audiences for it. This is also a special kind of multimedia art. manifestation.
Conclusion
my country's multimedia art has experienced a development process from imitation to originality, from part to whole, from singleness to diversification, and is entering a new stage of comprehensive and rapid development. Multimedia art is the product of the combination of contemporary information science and technology and art. Multimedia technology is very important to multimedia art. It not only increases the number of artistic expressions, but also achieves many effects that cannot be achieved by ordinary methods. However, no matter how important technology is, it is only a means. , it can construct the "shape" of multimedia art, but it is the exploration and innovation of art workers that ultimately give multimedia art its unique "god". In the future, multimedia art will be closer to our life, study and work, and it will be an important means for us to exchange information in the future. Multimedia technology will incorporate more newer technologies, and the future development prospects will be broader and the content will be richer. Now its technological improvements and innovations are closely related to the technological development of computers. Multimedia art relies on the development of multimedia technology and has unlimited vitality. Today's multimedia art is still in its infancy, waiting for us to think and shape it more creatively.