This director is very reliable

Chapter 898

Ding Sheng's "The True Colors of Heroes", isn't it "The True Colors of Heroes 2018"!

Shen Changlin was puzzled, why did Ding Sheng dare to remake it?

Who gave him the courage?
Remaking "True Tomorrow" is a thankless task.

As far as you are concerned about today's mainstream moviegoers, who doesn't know "The True Colors of Heroes"?
The three characters, Brother Hao, Ajie, and Brother Xiaoma, are themselves textbook-level character settings. They must have inner charm and charm, and they must have related conflicts.

The three characters have been shaped to such a complete degree that it becomes easier for the screenwriter to advance the plot.

The perfect presentation of the three actors strengthens the inner tension of the characters.

The old boss, the unwilling younger brother, the younger brother who is a policeman...

When Xiao Ma finally said to Ajie: "Actually, I am a brother"

Before he finished speaking, Xiao Ma was shot and fell down. Sometimes when I think about it, maybe the director wanted to tell us, "Actually, as brothers, there is no need to say too much. There is not so much fuss, and there is not so much hatred!"

What new ideas can you discover?
The reason why the villain is in the top position is because he wants to sleep with his sister-in-law?

Forget it, pure rivers and lakes films, can't be filmed...

It doesn't smell like that anymore!
Hong Kong’s fireworks in the last century, the order and rules of the rivers and lakes at that time were like yellowed pages, which can be used to commemorate but can no longer be used as a guide.

Shen Changlin just said: "Unless Ding Sheng can find Leslie Cheung, otherwise, I will not invest!"

Lao Guo was stunned for a moment: "Leslie Cheung? He passed away!"

"...That's right, so, it's impossible for me to invest!"

Just as he was about to hang up, Lao Guo said again: "Wait a minute!"

"Wait for what?"

"Director Xu Ke is going to visit "Assassination of Novelists"..."

"Really? Let me call and ask!"

……

I have a question, why is Xu Ke not the director of "A Chinese Ghost Story", "New Dragon Inn", including "Swordsman", but the audience generally thinks that they are Xu Ke's works?

Well, in fact, directors like Xu Ke, including Du Qifeng, are all from TV stations, and their behavior inevitably taints the habits of TV stations-as long as they are named as producers, they like to take full control: scripts must be controlled by themselves, actors must be taught by themselves, and shots must be filmed by themselves. , Editing is up to you!
Isn't this Nima a director in the popular definition?

Therefore, many films produced by Xu Ke are classified as Xu Ke's works, because he is too strong and dominates every aspect of the film...

Xu Ke was too creative back then, and wanted to shoot a lot.

But one person always has limited energy, so he just assigns some projects to other people to execute, but he himself is too controlling and assertive, basically he has the final say.

For example: Although "A Chinese Ghost Story" is indeed mostly performed by Cheng Xiaodong on the spot, this theme is what Xu Ke decided to do. He also bought the copyright from Li Hanxiang, and Xu Ke also controls the casting and production style. .

Even in the post-editing, the soundtrack was personally composed - watching Huang Zhan finish writing "A Chinese Ghost Story", "Don't Come at Dawn", and "Tao". Among them, "Tao" was originally sung by Lin Zixiang, but because the schedule was not available, Xu Ke simply forced Huang Zhan to sing in person...

Including inviting my idol director Hu Jinquan to film "Swordsman", in the end, only Hu Jinquan was used for one or two scenes, and I made up all the rest, which made Hu Jinquan half dead!

It is not an exaggeration to say that Xu is a control freak.

But in the past few years, I feel that his desire to control has shrunk a lot...

I feel, maybe it’s because I’m getting old and my energy is not as strong as before, or maybe it’s just because I focus on what I want to shoot, and don’t care much about actors and so on...

Otherwise, why did "Dragon King" use Zhao Youting?

Why did "Four Heavenly Kings" use Ruan Jingtian and Ma Sichun?
Because Chen Guofu recommended it?
A joke, when Xu Ke was young, he didn't give anyone face, he only believed in himself, he felt that Wang Zuxian was suitable for Nie Xiaoqian, so he went against all odds and used her!
Can you say that Zhao Youting is suitable for Di Renjie?

It can only be said that he has sacrificed a lot for the display of special effects in the past few years...

Therefore, compared with Chen Guofu, he prefers to cooperate with Shen Changlin. From the beginning of "Taking Tiger Mountain Out of Wisdom", the cooperation between the two parties is very good. Whether it is the production or the actors, he has experienced an unprecedented sense of fluency.

He doesn't need to worry about the script, the scriptwriting team of Changlin Film and Television is full of talents, and even a very ordinary story can be played out!

Mr. Xu has always been committed to catching up with Hollywood in terms of technology...

Why did you accept the filming of "Journey to the West"?
On the one hand, he himself has always wanted to do the theme of Journey to the West, on the other hand, the 4 million funds ensure that he can achieve the effect he wants!

In fact, the cost of "Nine-story Demon Tower" is 2.5 million, and it is only 4 million claimed...

He knew that Shen Changlin was very interested in special effects blockbusters, and he started training domestic special effects teams from "The Thief".

Today I finally made "Assassination of Novelists" - Oriental Fantasy!
I've always wanted to visit...

See how young directors play with special effects!
……

"Assassination of Novelists" has already released tidbits, publicity!

It is also a fact: for the first time, multiple technologies such as virtual shooting, motion capture, real shooting, and CG are integrated and used, which not only challenges the most cutting-edge shooting technology, but also realizes a set of standardized new industrial processes, which can be said to be A new revolution in the domestic film industry...

When Xu Ke walked into the studio, he was shocked!
Oh, the studio in Qingdao!

The filming of the mountain city is over, and the crew moved to Qingdao...

Xu Ke was extremely surprised: "More than 20 studios?"

Shen Changlin introduced: "We are divided into fifty groups, and each group makes different things..."

"What's the hardest part?"

"The red-haired ghost... is 15 meters tall, has four arms, 40 hairs, and 90 pores. The amount of rendering of a single frame is as little as 16 hours, as long as 30 hours, and the cost is about 200 million per minute!"

As he said that, he said to Xu Jian, the person in charge of special effects in the same company: "Show Director Xu the effect!"

"Director Xu, this way please..."

Then Xu Ke... a little jealous!

This special effect is much better than its "Four Heavenly Kings"!
Especially the shape of the red-haired ghost, compared to the white-haired orangutan in "Four Heavenly Kings", it is weak!

Xu Jian specially released a fighting effect, which made Xu Ke even more jealous - the hair effect of the monster model in "Four Heavenly Kings" and the flexibility of the limbs and joints during the action are far worse!

"How much did this special effect cost?"

Shen Changlin glanced at Chen Zhixi, who said: "We invested 1.5 million in the early stage, mainly for equipment development, concept simulation and mold manufacturing. It took about 1.5 million to actually make it..."

"Equipment development?"

"Virtual shooting...otherwise the actors wouldn't be able to fight!"

"Virtual filming?"

The so-called virtual shooting refers to the real-time picture feedback supported by a series of technologies such as motion capture, real-time engine, and camera tracking...

In the past, when shooting blockbuster special effects films, they were basically shot against the background of blue and green screens—the filming scene faced the unity of the image "behind" the blue and green screens (after keying). Compared with live-action shooting, blue-green screen shooting still cannot allow all creators to "immerse themselves in the scene" and achieve efficient and accurate collaboration among multiple departments.

"On-site virtual shooting" was born and developed under such requirements.

Through real-time tracking, real-time keying, and real-time rendering technologies, the camera shooting and CG elements are synthesized in real time, bringing digital space, perspective, movement, light and shadow to the shooting scene, and providing real-time screen previews for the director!

This kind of real-time preview is an extension of the previous animation preview, and combined with the real-time shooting on the spot, it continues to convey the creative intention of combining narrative and visual effects, so that the creation of the entire team will be smoother.

It can be regarded as a "live upgraded version" of the blue-green screen shooting technology.

It provides a guarantee for the whole process of film and television industrialization.

"Assassination of Novelists" has this set of tools. The team pre-synthesized the virtual characters that have been captured in advance into the live screen, and the main creators can see the size, position and movement of the virtual characters in real time...

The closer the picture is to the finished effect of the movie, the more it will help the director to schedule the actors, cameras and virtual characters, especially when encountering complex shooting angles and spatial position relationships.

By the way, that's how The Mandalorian was shot!
Xu Jian, the person in charge of special effects, saw a lot of things, and Mr. Xu's eyes became brighter and brighter: "How much is this thing?"

Chen Zhixi said: "It's quite expensive, mainly because there are too few people who know how to operate it."

Xu Jian said: "Using this set of tools can save a lot of time for CG rendering. If you count the time, it is still very money-saving!"

(End of this chapter)