Feel Tang

Feel Tang

Tucked in the corner of a busy high-tech room, Ken Chieh Hsu panel focuses on their computer, recording expert in it with his electronic pen. In the huge flat screen on the wall before him, a mythical paradise comes from the clouds with golden columns and marble staircases. Tap once, and the clouds at the feet of the screen will begin rolling across the stage. Again, and a bright light appears, slowly descending from a corner of heaven.

One might think that Hsu is animating a scene from the next Hollywood epic fantasy, but he is really an expert in digital design from New Tang Dynasty Television, a non – lucrative Chinese television network based in Manhattan. Hsu is a four-year veteran of the network's annual Chinese New Year performances, having worked in the funds Digital for the program every year since its inception.

These digital collections are a unique part of NTDTV's shows, and are particularly striking in giant LED screen at Radio City, home of the 2007 Chinese New Year Spectacular. Using the mounting space open as a giant canvas, Hsu and his team of painting scenes the ancient Chinese palaces, high mountains and rolling seas, and even a peaceful Chinese village in the New Year's Eve, silent, expectant, and with street lamps hanging travel far on the horizon. "Every year," Hsu says, "we try to make it more detailed, more realistic."

The result end is impressive, but the creation of a complex of these funds is surprising in itself. According to Hsu, the process begins with the artistic director, which comes with the concept of a performance. Then the funds are decided, and meticulous research begins. Digital designers go through stacks of books, research of period paintings and gathering whatever sources they can find, so make it as authentic and credible to the audience as possible.

But although many are based on background images and traditional paintings, there is still much room for innovation. In last year's performance, the fund dance "Flutes fairy" was a classic painting of a Han dynasty palace style. The color of the paint, however, had diminished with age. Hsu learned through its investigation, and whether their training in fine arts, classical Chinese painting, which were of bright colors, but the pigments have resilience of western oil paintings. The designers have decided to restore color to the image, creating the feeling smooth and radiant with a watercolor. Moreover, Hsu says, some of the classic paintings have a limited scope, while digital artists need to create a much larger space.

After the scene is drawn, it is time for the technological wizardry. Each year, funds increasingly demanding technically, with landscape changes more and more animations. In "Fairy Flute," for example, the team filmed dancers in rehearsal, then use digital effects to make these images in three dimensions based on two dimensions. In the show, the audience saw distant fairy maidens, flying down from the sky, only to appear in moments later.

The ultimate goal of these funds is to use modern technology as an instrument to convey the true spirit of traditional Chinese culture. The public should feel like the dancer is really in the space created by the fund. The audience not only see the image of a ship or at sea, but is actually a horse through of the waves. The fund opens the stage, extending the space beyond its borders. In short, is the creation of a world.

Such a world can only be created through an immense amount of collaboration. After all, the digital context is a part of this ensemble, along with costumes, music and artists. Colors the fund must harmonize with the colors of the costumes of the dancers, animations and scene changes must be timed exactly to change the music, the funds often must be tested during rehearsals of the dancers, and then worked again. Each fund may go through extensive reviews, but with each of the artists reach levels deeper and deeper meaning of the proceedings.

This whole process began seven or eight months before the first show. As work becomes more intense, Hsu and the dozen other designers spend most of their time to the funds. Hsu can only sleep in his bed once every three or four days, but while joking about her hunger artist forms (money "No, no woman, but still good"), it waxes enthusiastic about his work: "Where else could do something so wonderful? As an artist, I can reflect the best traditional art through modern technology. "

Hsu hopes the public will be happy with what seen in the fair this year and is convinced that it is of the highest quality. "I knew that before the traditional art was so beautiful. I tell people: you really should look good, because I have never seen such beauty before. "

About the Author:

Daniel Tang is an independent writer covering cultural events and human rights issues and has an interest in preserving cultural and spiritual tradition. For more info about the NTDTV Chinese New Year Spectacular in your area, please visit:
www.HolidayWonders.net
www.BestChineseShows.com

Article Source: ArticlesBase.comA Doorway to the Heavens

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