Tech, production crews work tirelessly so performers can shine
In the land of the Eiffel Tower and the Arc de Triomphe, in a western suburb of the historic arts mecca of Paris, K-pop blared as the crowd went wild. On October 15, 2023, the world’s No. 1 K-pop chart show, “MCOUNTDOWN IN FRANCE,” reached more than 22,000 fans from all over Europe. At Paris La Défense Arena, the largest concert venue in Europe, fans cheered artists such as ZEROBASEONE, NCT DREAM, TAEMIN and PSY.
That spectacle would have been impossible without the talented professionals behind the scenes — the production and technical crews in charge of set design, lighting, sound, and all the other backstage work that underpins a show’s success. They are the unsung heroes of K-pop.
Recently, CJ Newsroom met with a few of these heroes to learn more about what they do.
Hello. Could you please introduce yourselves?
Park So-young: Hello. My name is Park So-young from Art Creation Team 1, and I am the art director for “MCOUNTDOWN IN FRANCE.”
Lee Kwang-hoon: Hello. My name is Lee Kwang-hoon from Art Creation Team 3. I am the project manager responsible for stage management.
Park Jin-hwa: Hello. My name is Park Jin-hwa from Tech Creation Team 2, and I oversee broadcasting and technical coordination.
Your titles sound a bit unfamiliar. Can each of you please explain your role?
So-young: Simply put, I take the plans for the set design and turn them into reality. I work on everything from the stage floor to the backdrop, and I design various details for the stage. It’s all about letting the artists shine and bringing their vision to life.
Kwang-hoon: Our team plays diverse roles but our focus is on ensuring safety, both onstage and backstage. In addition, we are responsible for stage lighting and special effects. Our responsibilities also include equipment such as lifts and sliding devices.
Jin-hwa: As the person in charge of broadcasts, my main task is to make sure the camera lens captures the artist effectively. This involves managing the placement of cameras, coordinating broadcast vehicles, securing the necessary equipment, and handling the practical aspects of transmitting a live broadcast.
“MCOUNTDOWN IN FRANCE” drew more than 22,000 spectators. It must not have been easy to prepare for such a large-scale event at an overseas venue. How did you pull it off?
So-young: We started work around the end of June, so we had about four months to prepare before the performance on October 15. I visited the venue, the Paris La Défense Arena, twice. During this process, we even decided to install an island stage, something we had not initially planned to do.
Jin-hwa: To ensure smooth broadcasting, we reached out to AMP Visual TV, Europe’s largest provider of broadcasting, streaming and recording equipment. Throughout the rehearsal period, we continually modified our camera routes and our broadcasting plans.
So-young: “MCOUNTDOWN IN FRANCE” featured a segment called “DREAM STAGE,” where fans could participate in the performance along with the artists.
Kwang-hoon: In the “DREAM STAGE” segment, fans joined the artists onstage for an improvised dance session. Solid safety precautions were crucial. We paid a lot of attention to safety — for example, by reinforcing the structure supporting the stage.
Below: Paris La Défense Arena during “MCOUNTDOWN IN FRANCE”
While preparing, were there any particularly challenging aspects or interesting anecdotes you can share with us?
Jin-hwa: Through our work on “MCOUNTDOWN,” we traveled to various countries and experienced a diverse range of cultures. Since each country has its own unique culture, we always need to be mindful of cultural differences when communicating. Also, for this event in France, we had to consider the time difference with Korea.
So-young: For overseas events, it is difficult to predict how many fans will turn out. Since it was an enormous venue with over 40,000 seats, we worried that the turnout might not seem as impressive as it really was. But on the day of the concert, fans cheered so loud that our ears hurt. It was exhilarating.
Kwang-hoon: There was a performance where we shot letters into the air that contained a message from ZEROBASEONE. So many letters were scattered everywhere along with confetti — but after the show, when we checked, not a single one was left. The fans had taken them all.
What are your future goals?
Jin-hwa: As someone whose role involves new technology and the latest equipment, I always make an effort to keep learning. I hope to incorporate exciting new technologies into K-pop on a consistent basis. Currently, our team is working on a project called Croffle, where we edit high-quality footage and create solo-cam content for artists. We’re eagerly anticipating the fans’ reaction to this project.
So-young: I am striving to create stage design concepts that not only get a lot of attention, but that always offer something new. My goal is to keep showing their evolution.
Kwanghoon: Our aim is to organize a K-pop concert at the UK’s Wembley Stadium, which has a seating capacity of 90,000. And I aspire to put on concerts with historical significance and tradition, like the halftime shows in the U.S.
