INTO THE COLD 蔡徐坤《Colder》MV 幕后纪录片
一支关于「冷」的诚实纪录。镜头退到舞台之外，拍下 MV 背后真实发生的时刻沉默、等待、与镜头对视的那几秒。
剪辑 / 调色 / 音效：ENKAKO
A documentary about the cold. Behind the "Colder" MV, a raw account of what really happened off-stage — the silence, the waiting, the seconds of staring into the lens.
Edit / Color / Sound Design: ENKAKO
项目介绍 Project Introduction
这部片子回答一个新问题：一支关于「冷」的 MV，是在一种怎样的温度里被创造出来的。
*Into the Cold* is the behind-the-scenes documentary for the "Colder" music video from Cai Xukun's self-titled debut album. Rather than a making-of reel, it is a standalone short documentary — pulling the camera away from the polished narrative of the MV and aiming it at what actually happened on set: the waiting in hair and makeup, the silence after a botched take, the unguarded exchange between director and artist.
The film asks a new question: in what temperature was a music video about "cold" actually made?
剪辑思路 Editorial Approach
作为剪辑师，我刻意放弃了 MV 式的高速剪接和华丽转场，转而选择一种接近直接电影的节奏让长镜头呼吸，让 NG 的瞬间保留下来，用「不剪」来建立叙事的重量。整片的情绪曲线不是高潮迭起，而是一条向内的、缓慢下沉的冷调主线，直到在「cold」这个概念与艺人的真实状态之间完成一次呼应。
As editor, I deliberately abandoned the fast cuts and flashy transitions of the MV form for a rhythm closer to direct cinema — letting long takes breathe, keeping the mistakes in, and using restraint as the engine of narrative weight. The emotional arc doesn't build to peaks; it sinks inward along a cold through-line until the concept of "cold" finally meets the artist's real state.
调色 Color
以冷调为核心，压低了整体饱和度和明度，让肤色在低色温的阴影里保持克制，只在少数关键画面让「冷」色溢出让视觉上的冷与人物情感上的冷形成同构，而不是简单地套一层蓝青滤镜。
The grade is built around cold: desaturated, low-key, with skin tones held back in low-temperature shadow. The cold color is allowed to bleed through only in a few key frames, so the visual cold and the emotional cold become one and the same — not just a teal-and-orange pass.
音效设计 Sound Design
音效层面去掉了大多数音乐性铺底，转而放大现场的真实响度衣料摩擦、脚步声、空调的底噪、以及那些被音乐盖掉的呼吸。声音在这里不是情绪的助推器，而是温度本身的一部分，让「冷」可以被听见。
In the sound design, most musical beds were stripped away in favor of the real loudness of the set — fabric friction, footsteps, the hum of the air conditioning, the breaths buried under the music. Sound here isn't an emotional booster; it's part of the temperature itself, making "cold" something you can hear.
VAVA 毛衍七 —《周婆婆 Zhou Popo》 MV
项目类型：官方音乐录影带 / Official Music Video项目时长：约 3 分 48 秒角色：剪辑・调色・摄像（Editor / Colorist / Cinematographer）发行：种梦音乐 D.M.G
《周婆婆》是 VaVa 写给外婆的一封告白，收录于专辑《飘 No Roots》。没有华丽的技巧，只有最朴素的诉说 外婆饭菜的香、缝纫机旁的叮咛、那些再也回不去却永远闪光的午后。几句家乡童谣做 hook，把「周婆婆在卖茶」的童年记忆，压进一段关于爱与思念的旋律里。Zhou Popo is VaVa's confession to her grandmother, from the album No Roots. There are no flashy techniques — only the plainest telling: the smell of her grandmother's cooking, the murmur by the sewing machine, the afternoons that can never come back yet never stop shining. A few lines of a hometown children's rhyme form the hook, pressing the childhood memory of "Zhou Popo selling tea" into a melody about love and longing.摄影与影像 Cinematography
作为一个关于「念」的 MV，我不把它拍「干净」。整支片子用 DV 的粗粝质感承载记忆 颗粒、失焦、慢门拖影、轻微的过曝，像一段在脑海里反复回放的旧录像带，而不是一支精致的商业 MV。全程自然光、手持跟拍，镜头跟着情绪的呼吸走；拍摄地落在洛杉矶圣莫尼卡的海滩与游乐场，异乡的风景越是明亮绚烂，心里那个「十几平方米的小房间」就越清晰。 For a music video about longing, I didn't shoot it clean. The film carries its memory in the rough texture of DV — grain, soft focus, slow-shutter drag, a touch of overexposure — like an old tape replaying in the mind, not a polished commercial. All natural light, handheld throughout, the camera moving with the breath of the emotion. Shot at Santa Monica's beach and amusement pier, where the brighter and more dazzling the foreign scenery, the sharper the memory of that tiny ten-square-meter room.剪辑思路 Editorial Approach
剪辑上放弃制造技巧感，让画面跟着歌词的叙事自然流动：前段是外婆的劳碌与坚韧，中段是「你已经长大」的时间飞逝，结尾是抬头看月亮、眼神再次碰撞的释然。情绪曲线从白天游乐场的明亮怀旧，滑进夜晚霓虹的迷离，最后落进黄昏与夜色里的静默回望 一次向内的、缓慢的归乡。 In the edit I gave up manufacturing technique, letting the images flow with the lyric's narrative: the grandmother's toil and endurance up front, the rush of "you've already grown up" in the middle, the release of looking up at the moon at the end. The emotional arc glides from the bright nostalgia of a daytime fairground into the blur of neon night, and settles into a quiet look back at dusk — a slow, inward return home.调色 Color
调色上保留了 DV 素材原本的粗粝和偏色，没有去「修干净」 因为思念本身就是糊的、旧的、带着噪点的。日光段的高饱和与夜景段的紫蓝霓虹形成冷暖对照：是洛杉矶与白天的现实，也是心里回不去的那个「故乡的午后」，让画面里的异乡与记忆里的故乡始终隔着一层无法弥合的距离。 The grade keeps the DV material's original roughness and cast instead of cleaning it up — because longing itself is blurry, old, and full of noise. The high saturation of the daylight scenes and the purple-blue neon of the night form a warm-cold contrast: the reality of Los Angeles and the bright hours, against that "hometown afternoon" that can't be returned to — leaving a gap between the foreign scenery on screen and the home in memory that can never fully close.