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[JAPAN ANIME MUSIC LAB.]
Anime Key Player Interview #8
Mr.Ayu,柴轩鸿 Vice President, Bilibili, Chaodian, Part.2

2018.12.11


 


Could you tell me about Bilibili World?

Bilibili World is a new brand that began in 2017 and made its predecessor event in 2016. Since BML live is playing at night, from morning till evening, a large number of users are jamming outside the hall. I made an outdoor area outside of the Benz Arena in 2016 so that users can enjoy it for free while waiting because we do not want to waste the time of many users who are coming from all over the country. In the outdoor area, we set up a main stage, a game stage, an interviewing room for live broadcasting, and a few booths. There were plenty of visitors, about 4,000 a day. Since the event itself was successful, I thought about doing a proper event at the exhibition hall next to the BML venue. So, I did the first Bilibili World in 2017.
 


Is Bilibili World a free event?

It is a paid event. A single ticket is 98 yuan, about 1600 yen, so people can enjoy both music live and uploader’s performance. The content of Bilibili World is perhaps the most abundant in China's events right now. This year I collaborated with ANiUTa and did "Bilibili World Live supported by ANiUTa". The most interesting thing is that the Bilibili World will be an “uploader’s captured tournament”, as not only the uploader being cast, but also other uploaders participate. Everyone is getting excited as they may pass by their favorite uploader! For the first time this year I tried to put makers and IP companies in the venue. It was so popular that all the goods were sold out at most booths. However, when about 38,000 people were in the hall at the same time, we were hardly able to move, and that was the first claim this year. People said that "the venue will not grow bigger", but I'm already using it to the maximum (bitter smile).
 


In addition, this year, according to the instructions of the Public Security Bureau, we suddenly moved the official sales area underground on the evening of the first day. Because the means of announcement is limited, it was difficult to make it known. As we moved during the event, the rows of visitors filled the 8000 square meter room, the second and third day was also a big success.


Are there specific episodes about the hardships and pleasures of carrying out the event?

Since BML has different themes for each of the three days, target user and production are completely different. That is why production, such as conversion of stage and casting, is quite difficult.

The technology of virtual live is largely Japanese, so in order to make it successful we must cast technical staff from Japan.

We also cast the Japanese staff team on BML SP on the second day. Many Japanese artists feel that they are going abroad for the first time and feel uneasy. They are worried about whether they can do well on overseas stages rather than if venue gets filled up or not. Most of the artists request to put Japanese staff for the condition, I have to cast nearly 100 staff teams every year from Japan.

On the third day, we cast about 200 pairs of uploaders on the stage every time. There are also orchestras and others in it, so it is almost an impossible mission to switch to rehearsal on stage. Since the stage is completely different during the three days, it is necessary to secure each rehearsal time individually, and when there are many instruments it takes time to organize channels and cables to record the sound of all the instruments.

The most challenging thing is that the local staff in China and the Japanese staff work differently.
For example, Japanese staff take artists to the stage after all the departments have been prepared, but the Chinese staff proceed anyway if there is no problem with the stage and acoustic monitor system, and other problems be solved later. The interesting thing is that if Japanese staff members have problems in some department and stop all departments, the Chinese staff and performers are confused and say "What are we waiting for?" (laughs) .

The way of patching is also different. The Chinese staff change the channel on the system, so we can easily return to the original state if we want. However, as far as Japan's way of doing, of course I do not know whether all these ways are done, but they plug and unplug the cables directly for safety. In BML, we have to set up a three-day channel, but the PA team is also changing daily because the contents of the live shows are totally different each day. Actually this year, because the team on the second day patched differently, on the third day all the channels had to be changed all over. Although time of rehearsal is only eight hours, I spent four hours repairing the channel, and eventually I could only do about the sound test. It carries a very high risk.

However, I was impatient and thought "Oh, what should I do!" at that time.  When I think “It was interesting.” when I work for improving for the next event (laughs).


How many pairs of artists from Japan come to BML SP?

Twelve pairs came the first BML SP, in 2016. Then, I borrowed the power of Amuse Shanghai on production, explained around the Japanese label office one by one. Since we began to collaborate with Anisong World Matsuri in 2017, Anisong World Matsuri casts artists, so I am quite relieved.


Is there anything difficult to negotiate and exchange with Japanese record companies and management companies?

At first it was quite difficult to gain trust. In the past two years, it has become a very powerful lineup on casting, but the first time so many people were coming it felt like a large test. When talking about business with the Japanese, we have to talk face to face, but in China, you can do with WeChat or email. In the beginning, I came to Tokyo about three times a month, and visited several times with over ten companies for the explanation with papers. I was still not good at Japanese at that time, but I could explain smoothly because I got used it (laughs).


Next: Mr.AyuInterview Part 3will be published on  Dec, 2018!
 

 

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