When our documentary "Looking for Colors" was launched on Tencent Video, the gorgeous traditional oriental color caught the attention of many viewers, and the barrage and comment section had a lot of praise for the beauty of color and the beauty of Chinese traditional culture. I am very pleased and happy that this documentary can receive so much attention and love, and I can't help but recall our "search on color".

　　This exploration is not only a new breakthrough for the chief director Chen Xiaoqing to lead Daolai’s team from food documentaries to color humanistic documentaries, but also a deep practice of our inheritance and innovation of traditional culture. Chen Xiaoqing said that for more than ten years, we have been using food to entertain the audience's mouth and stomach, and hope that everyone can better understand China and experience traditional culture through food. But there are five kinds of human senses. In addition to taste, there are also vision, hearing, smell and touch. "Looking for Color China" is the honey dedicated to our eyes. It is another exploration of the creative team to discover the beauty of the world through senses. It is this statement that strengthens our determination to use color as the starting point and see and understand China through color.

　　During the topic selection and planning stage, we learned through learning that many traditional Chinese colors have faded out of people's horizons. We hope that through this documentary, we will bring them back to the world. China's colors are not limited to the "five colors" of blue, red, yellow, white and black, but are the vast cultural river of colors formed by countless trickling streams. What we need to do is the ferryman of this cultural river.

　　After determining the topic, the primary problem before us is how to innovate in shooting techniques and narrative logic. The directors not only apply the mature shooting techniques accumulated during the past decade to the shooting of food documentaries, but also hope to break out of their previous thinking and find more different methods, including the narrative perspective brought by Chen Xiaoqing from the director's perspective, as well as special photography, animation design, etc. For example, the use of animation is to reinterpret Chinese elements through more modern and fashionable designs, which not only shows the historical heritage of traditional colors, but also gives it a modern sense and vitality, and is loved by the audience, especially some young audiences.

　　During the shooting process, we went to 24 shooting locations at home and abroad to find and select stories and characters related to traditional colors. Every subject is like a key, opening a new door to our understanding of traditional colors. For example, one of our subjects, Hua Ge (Feng Zhaohua), from Hong Kong, has written titles for more than 100 Hong Kong movies, and has handwritten signs for countless shops in Hong Kong. It can be said that "one person writes all over a city." Before shooting, we made careful preparations, met and communicated with relevant experts and friends, and learned about Hua Ge's people and things, so that we can more deeply explore Hua Ge's understanding of color and the relationship between calligraphy and color in his mind. After contacting him, he was very friendly and led the crew to tell his story on the streets of Hong Kong, making his passage a very outstanding part of the film.

　　As the shooting progresses, we are becoming more and more aware that traditional colors are not only visual presentation, but also cultural carriers. The red on the signboard and the bright yellow on the kesi clothing all carry the memories of history and people's emotions. We hope to use this work to awaken people's innate cultural genes, find our sense of cultural identity and belonging, and give life meaning with aesthetics.

　　Chen Xiaoqing once said that the main creator of "Looking for Colors" gave him a position, "is the storyteller, the story's sugar coating of the researcher's achievements, so that the audience can understand the relationship between color and life." How can traditional colors rejuvenate in the present? We believe that application and inheritance are the key. We hope that through the documentary "Looking for Colors in China", we will promote the application of traditional colors in more fields and make it truly integrate into the lives of modern people.

　　(The author is Qu Nan, the producer of "Looking for Colors in China")

[Editor in charge: Susan]