This director needs to apologize

Chapter 350: Filial piety leads to strength
After the filming of the parkour scene was completed, Chen Yiming gave the crew two days off. After the National Day holiday, the crew regrouped and went to the completed "Future World" to continue filming.

There are three future scenes involved, including the heroine’s home, the heroine’s office, and a street corner.

In addition, it also includes several large props, such as the heroine's electric car, sleep chamber, arrival monitoring equipment, etc.

Chen Yiming did not design the "future world" in the movie to be too lofty, because the background of the story is only ten or twenty years in the near future. Human society has not evolved beyond recognition and is basically born out of the real world.

It's just that Chen Yiming incorporated a lot of "past life experience" into the scene, and then made appropriate extensions and elevations.

The mobile Internet era that began in 2015 has greatly expanded the boundaries of high-tech equipment. Various technologies that previously existed only in imagination have sprung up like mushrooms after a rain in just a few years, refreshing the world.

Today's China is at the dawn of this great change. Chen Yiming has a bad taste and fills the movie with a lot of new technologies that he heard or witnessed when he traveled through his previous life.

For example, the Internet of Everything under the management of the smart butler in the heroine's home not only includes the sweeping robot and smart rice cooker that Chen Yiming himself has used, but also further expanded his imagination to make almost all functions in the house a voice control.

Another example is the heroine's electric car, which is also something that has already appeared in China, but in the movie, widespread and practical driverless technology appears.

The heroine's office is even better, adopting a minimalist style with a metallic texture. All office operations are completed through a three-dimensional holographic projection, which is gesture positioning technology.

It's just that all the projected pictures are not generated by CG in the later stage, but are "projected" by the prop master after they are made one to one by adding special effects.

There is only one reason for doing this, which is to ensure that the entire scene has a certain realistic texture.

It is precisely because of Chen Yiming's strange request that a lot of "meaningless" labor has been added to the set-up team. Of course, the actors will welcome this approach, after all, they don't have to act remotely.

On the first day after work started again, the subject of photography was the daily life of female scientists.

Playing the role of Huang Mimi, a female scientist in the real world, she arrived in Shanghai the day before yesterday and has not even finished her vacation.

When the girl "meeted" Chen Yiming, she looked uneasy and lacked confidence. Thinking about it, it was indeed true. Her past experience was obviously far different from that of a middle-aged female academic.

Chen Yiming nodded at her and encouraged her to perform well. As a result, the girl seemed to be under more pressure and staggered a few steps when she took the position.

To be honest, the atmosphere in the studio was quite big. Mengxin was in it abruptly, surrounded by Wuyang Wuyang's people and equipment, and it was abnormal to be able to act as if nothing had happened.

Today I plan to shoot 5 scenes, all of which are set at the heroine’s house. It’s basically the whole process from getting up in the morning to going out to work.

But there are so many details in it that Huang Mimi needs to perform accurately enough. As for the character's mentality, Chen Yiming has no rules at all. It all depends on Huang Mimi's understanding.

When Chen Yiming first explained the requirements, Huang Mimi was confused. The key points drawn by the acting class teacher never included the word "accurate".

There is such a rule for acting in dramas, but isn't it used to describe movement?

After observing the girl's condition, Chen Yiming wisely decided to put on the lens cap and rehearse several times.

"Stop, Xiaomi, be sure to remember the sequence of actions in the bedroom. After opening your eyes, say the lines to activate the smart butler, then get out of bed, pick up your phone, and go straight to the bathroom.

Your actions are related to the movement sequence of all the equipment in the house. This scene silently declares the regularity of your life, so it must not be wrong. "

"Automatic" operations such as opening the curtains, opening the transom, cleaning the bed, turning on the TV, changing channels, and opening the bathroom door are actually manually controlled, and the remote control facilities are all completed by the prop master.

Therefore, the key point of this shot is that the actors and operators make no mistakes, making everything look like it was done by a smart butler.

Huang Mimi's performance must capture the natural aspect, and there must be no "observation" step, because no one would "observe" things they take for granted at home.

Huang Mimi is obviously not used to this kind of acting style. There is always a sense of "exploration" in her movements after getting out of bed. This is an actor's subconscious behavior. There is only one solution, and that is to deepen her proficiency through repeated practice. Spend.

Huang Mimi barely qualified after rehearsing for a whole morning. Memorizing the sequence of actions is not difficult, but at the same time, it is a test of acting skills. The girl has not been able to find the "accuracy" required by Chen Yiming.

Chen Yiming repeatedly reminded her that she was precise, not mechanical. She played a female scientist with a rigorous personality, not an angular robot.

Among Chinese directors, Chen Yiming definitely gives actors a high degree of freedom, because he rarely clearly stipulates how actors must act or cannot act. Today's Huang Mimi is one of the few exceptions. As a result, Chen Yiming He was deeply hit and further strengthened his directing philosophy of not interfering with performances.

Teaching people to act is really not a good experience. After having lunch in the canteen of the Phantom Factory, the crew returned to the studio and started shooting. The first two shots were still clicked in a few seconds. Chen Yiming patiently took the fifth shot before he finally captured a complete shot.

Chen Yiming encouraged Huang Mimi a few words, saying "guaranteed one", but in fact, the one just now couldn't be used at all.

After securing four more shots, Chen Yiming finally called out, and the whole studio burst into cheers. Those who didn't know thought it was done.

Chen Yiming couldn't help but said to himself, "Everything is difficult at the beginning, that's normal!"
The second scene is still in the bedroom, but the protagonist of the scene is not Huang Mimi, but a sweeping robot. It will lead the audience to "pass by" several pre-embedded foreshadowings. At the same time, the morning news as a voiceover will also reveal some background information.

The camera follows the sweeping robot as it stops at the door of the bathroom suite, panning the neatly dressed Huang Mimi from feet to head into the frame.

This shot went smoothly, and Huang Mimi continued her previous "accurate" state.

The third scene moved to the corner of the studio, where a long corridor was built from light to dark. At the end was a room that was incompatible with the sense of technology. This was the heroine's husband's territory, a otaku bedroom that is most familiar to contemporary young people.

Thick curtains blocked every light from the outside world, and the floor was littered with "otaku sacred items", including books, discs, cassettes, game consoles, and the like.

Shooting from the outside in, the camera follows Huang Mimi through the corridor and opens the door.

Then the camera was shot from the inside out, with the camera following the cat squatting on the computer chair, first turning its head to look at the open door, then following the incoming light, jumping onto the bed and then running out the door.

There is no need to find an "obedient" cat, because this lens is from a first-person perspective, and you can just move the lens to simulate the cat's movement trajectory.

A real cat owner only needs to appear in the next shot, switch back to the third-person perspective when he bumps into the heroine's lap, and only film the heroine passing by and running out the door.

The fourth scene is still Huang Mimi's one-man show. She needs to show a certain amount of complex emotions, between disgust, disappointment and indifference. When Chen Yiming inspired Huang Mimi, he described it as "because there is not much emotion left, so I choose to endure it for the time being." ”

Huang Mimi asked, "What kind of emotion, love, family or friendship?"

Chen Yiming smiled and replied, "Don't worry about your feelings, show them first and then talk."

If the heroine's room represents Chen Yiming's "prophecy" for the future, then the heroine's husband's room represents his "obsession" with the past. It is filled with various ancient collections.

For example, ancient game consoles, big monitors on computer desks, scattered board game cards, all 8 reset disc cases of the Castle of Evil game, etc.

Huang Mimi's movements in this room also need to be precise and natural, because each movement is connected with a purposeful shot. As for her husband lying dead on the bed, it is the least important part. Since there is no need to show his face, he simply left it alone. I got a plastic mannequin instead.

Surprisingly, in this scene that required specific emotions, Huang Mimi's performance was quite complete. Chen Yiming couldn't fault it even if he saved two shots.

During the transition, the girl was jumping and jumping very happily. The production assistant asked her if she had any tricks. Huang Mimi's answer made everyone around her stunned.

"It's okay. When I acted, I was in the state of my mother when she woke my father up on weekends."

Good guy, it’s true that Xiao Chu is powerful.

The next thing to be filmed is a group portrait scene. It is set that the heroine lives in a high-end community on the outskirts of the city. Huang Mimi walked along the walking path of the community to the waiting area at the entrance of the community, where several neighbors who were also waiting for the bus gathered there. There are two-line editing of people on the ground and cars in the underground garage. People are chatting easily and cars are queuing up in an orderly manner. This scene shows the whole process of cars automatically parking and driving to the waiting area.

The extras are all senior actors found at the nearby Magic Film Studio, and they handled this short scene effortlessly. It was only then that Huang Mimi showed her talent, and she didn't have any stage fright when playing with a bunch of old guys.

What's even more commendable is that when filming this scene, the girl still maintained the "precision" that had been brewing for a day, and she already had a somewhat easy-going appearance and a engraved feeling on the inside.

This shows that Huang Mimi has found some feeling like a female scientist.

Of course, the simplicity of the human scenes does not mean that the car scenes are not troublesome. Driverless driving is not something that a prop master can handle. After experimenting with various methods such as remote control, little green men, and rickshaw pullers, Chen Yiming chose The safest track solution.

A steel cable is pulled above the scene, tracks are laid on the ground, and then vertical steel cables are used to connect the locks on the roof to drive the car shell forward.

This plan is fine in theory, but it's completely different when it comes to filming. Actors, vehicles, and cameras all work together, and if there's a slight mistake, you have to start over.

By the time Chen Yiming shouted, it was already early the next morning.

(End of this chapter)