Please make money.

Alia looked around here, saw nothing unexpected, and nothing that could allow her to show off in public, so she ran next door.

Su Nan heaved a sigh of relief. Next door was a shed where they were filming the interior of a car. There was nothing to do there. The most Alia could do was to find a headlight to roast some durian for fun.

...But then again, why are there so many durians among the fresh fruits in the logistical supplies provided by Alia?

That thing is expensive and smells strong, but it's like free in her hands.

"Old Su, you have to help me."

"Hmm?" Su Nan came back to his senses: "What help?"

"We are currently filming a firefighting film, and you need to help me."

"No, how can I help you? Science fiction and firefighting - these are not related. What props do you need? If you find any suitable ones, take them."

"It's not about props, I'm talking about investment. You know the movies on the market nowadays like romance and love stories. What's that sound?"

A shrill fire alarm sounded, the filming was interrupted, and everyone looked around in confusion.

As the largest indoor film and television base in southern China, their crew is not the only one here. They only use seven of the more than 20 indoor studios.

"It seems like there's a fire somewhere, maybe next door?"

"Next door? What crew is next door?"

"I don't know. Call the fire department. Oh, what a mess. I just told the fire department to put out the fire..."

No one was paying too much attention to the two people talking, and the filming was interrupted for everyone to regroup, and a curious crew member went out to inquire about the situation.

But within a few minutes, the other party came running back in a panic: "Oh no, oh no - run!"

"what happened?"

"The crew next door is going crazy! Three of their studios are on fire!"

"Where are the firefighters! Where are the firefighters!"

"We called the police but they haven't come yet! The fire has completely engulfed their inner shed! Listen to this sound!"

Everyone listened carefully and, sure enough, a faint sound of collapse gradually arose, and even the vibration could be felt under their feet.

What the hell is the crew next door doing? Are they shooting an explosion inside a war movie?

Just as Su Nan was pulling the people around him to take shelter in an open area, a dull roar resounded throughout the studio.

The large partition wall not far to their right was directly pierced through, and the huge steel beast that was supposed to be lying quietly in the studio next door was driven over.

Alia's amplified voice came from the car: "I knew you had to do something for me, get out of here quickly, I'm going to save someone next door."

After saying that, the transporter roared and turned around and drove away. It was obvious that this guy was too big to turn around in the shed without any damage.

Su Nan's colleagues stared blankly, and for a moment they couldn't tell whether they were on the set, in a movie, or in a dream.

That thing(TM) can move???

No, that thing is ten meters high, eight meters wide, and almost fifty meters long. Is it really something that can be driven?!

"Director Su, Director Su, let Lele bring the second team to drive the equipment over. They have all received special rescue training. I'm worried about something going wrong."

Su Nan's headphones rang. It was obvious that everything was active, even the headphones that would automatically switch to emergency communication mode.

All crew members received reminders through headphones, and immediately evacuated when a fire broke out, and returned to film after the firefighters confirmed it was safe.

Su Nan contacted An Lele who was in hiding, and then saw a figure in the studio next door throwing away the freshly roasted durian, grabbing a powered exoskeleton and putting it on.

It turns out you were roasting durian. I was wondering why it smelled like shit!

Oh no, why are you wearing this?

An Lele quickly put on the powered exoskeleton and got onto an engineering vehicle used for scenery. The next second, the thing started to hum.

One, two, three...

The huge transport truck is like a mother taking her ducklings out, with small construction vehicles following behind, rushing out of various photography studios.

Su Nan stared at the scene with wide eyes. His colleague next to him pushed him and said, "Old Su... Old Su..."

"Ah-ah? What's that?"

"Stab me with the knife."

"……what?"

"No, is the threshold for filming science fiction so high now? Is it a real documentary? Is the sun really going to explode?"

"Is it possible that this was an accident?"

"...???"

329-Very Bold for "Sister Zi's Sin Bag" 4/10

While Su Nan's colleagues were pestering him for a ticket to the dungeon, Alia and her convoy had already rushed out of the studio.

The fire started too fast and was too big - she could tell at a glance that the other person was not a human - cross out - she could tell that the other person must be hiding dangerous goods.

But this is not something difficult to understand.

Many filming techniques cannot actually be classified as formal or informal, it’s just for convenience.

Moreover, although making movies seems to be an artistic thing, it is actually quite dangerous.

There are all kinds of situations, from insufficient awareness at the beginning to insufficient preparation later.

The most famous example of the dangers of insufficient awareness is the so-called cursed movie "The Desert Conqueror".

"The Desert Conqueror" is a war epic film produced by RKO Productions of United Pictures in 1954 at a cost of 800 million US dollars.

The film tells the story of Genghis Khan, founder of the Yuan Dynasty, expanding territory and establishing the Mongol Empire.

What was the concept of 8 million in that era? It was probably the same as Alia investing 1.3 billion now, and everything can be filmed.

So the crew chose to shoot on location. Since many scenes in the film took place in the desert, producer Howard Hughes looked around and finally chose Snow Canyon in Utah, USA.

But it was during the Cold War, and Yucca Flats in Nevada was the site of the US military's nuclear tests, only 137 miles away from Snow Canyon.

And Snow Canyon is right at the forefront of this trend. Just a year ago, as many as 11 nuclear bombs were tested on that flat land.

The radioactive atomic fallout and nuclear fallout it produced eventually fell into the Snow Canyon...

Before the crew went to Snow Canyon to shoot, Hughes also learned that it was not far from Yucca Flats and had consulted the U.S. Atomic Energy Commission.

He asked if Snow Canyon was safe, and was told it was not contaminated by nuclear weapons.

In fact, the experts on the committee were lying - or they did not have enough awareness of the problem at that time.

The crew filmed in Snow Canyon for 13 weeks. After being exposed to nuclear radiation for such a long time, the result can be imagined.

In order to create the scene of flying sand, director Dick Powell even got several high-power electric fans to try his best to blow up the sand.

Therefore, the crew members shot in the midst of flying sand every day, and even the food they ate for three meals a day was contaminated by sand and dust.

And those sand and dust contain a lot of nuclear radiation dust particles...

What’s even more terrifying is that after the filming at the Snow Canyon location was completed, in order to facilitate the reshooting of some shots in the future, the crew also dug 60 tons of sand from the Snow Canyon and transported it back to HaoXwu. This resulted in some crew members who had never been to the Snow Canyon being contaminated with nuclear radiation dust.

In the following 30 years, 91 people in the crew developed cancer, and more than half of the crew died of cancer.

Producer Howard Hughes felt so guilty about this that he spent $1200 million to recover all copies of the film and kept them sealed for 17 years.

This kind of lack of awareness of the overall environment can be said to be pathetic.

Then accidents caused by carelessness on the set can be said to be hateful!

For example, on the set of "Hunter" that year, a fire almost burned the three main actors to death.

Audiences born after the millennium may have no impression of Hu Huizhong and Li Moonfeng.

But for older audiences, she is an action actress who became famous in the 1980s.

There were many female action stars at that time, and the actors were very dedicated and worked very hard on filming the action scenes.

Even for dangerous actions, they rarely use a stunt double, which makes them more vulnerable to injury.

"Hunting Heroes" is the second collaboration between the two after "Summer Lucky Stars" in 1985, and everyone enjoyed the collaboration.

At that time, the crew had completed the filming of most of the action scenes, with only the last explosion scene left to be filmed.

That shot required Hu Huizhong, Li Moonfeng and Lu Liangwei to jump out of the second-floor window before the staff detonated the petrol bomb.

But the problem was that the weather was bad that day and a typhoon was about to blow, and everyone wanted to catch up and finish the filming.

As a result, due to the rush to meet deadlines, the original martial artists were unable to coordinate according to schedule, so the three main actors decided to do the performance themselves.

According to Moon Lee's later recollections, they followed the on-site coordination and jumped down after counting to three.

The staff responsible for detonating the bomb could only detonate the Molotov cocktail when they saw the three people jumping down.

As a result, when the filming started, Ray Lui jumped after counting to 2. When the staff saw him jump, they reflexively detonated the petrol bomb in advance.

As a result, Hu Huizhong and Li Moonfeng, who had not yet jumped, were immediately engulfed in the fire...

Hu Huizhong suffered the largest burn area, with her entire head burned black and all her hair gone.

Moon Lee had half of her face burned, and her hands and back also suffered varying degrees of burns.

Ray Lui's injuries were relatively minor and all three were sent to the Queen Elizabeth Hospital for treatment.

Fortunately, all three of them recovered afterwards, and because the fire was put out in time, there were no particularly obvious scars.

Alia guessed that the set of the crew next door was similar to the set of "Hunter" - without a gasoline bomb, there would be no such noise!

The billowing black smoke directly swallowed up the three connected studios.

It's hard to put out a fire of this magnitude, or even get close to it.

Of course, this is not a big problem for the heavy transport vehicle driven by Alia.

Why would anyone think that a behemoth that is ten meters high, eight meters wide, almost fifty meters long, and has a load capacity of over three thousand tons would be afraid of a fire in the studio?

An interesting thing is that when the Ai Group was first established, its aesthetic had a subtle overlap with Cyber ​​Daji's.

Cyber ​​Daji feels that the Soviet-style heavy industrial aesthetic style is the only industrial design we can find that has an emotional connection with the Chinese people.

Ai Rulong was also influenced by the relevant military heavy industry style. Coupled with the preference of some orders, the heavy machinery vehicles of the Ai Group are quite inclined to the style of the Minsk Automobile Plant, especially the MAZ heavy transport vehicle series. They pursue practicality, do not care about the appearance at all, and take pride in violent aesthetics.

What kind of appearance do you want? The mining area should have the style of traveling through mountains and rivers. If you want something good-looking, go to the auto show.

As for how far one can go through mountains and rivers...

Let’s put it this way, the same type of carrier vehicle chassis was modified by the Russians and even became a trailer for submarine-launched missiles.

The front of Alia's car is a pure electric mining truck, which can carry 300 tons without a trailer.

Even according to the needs of filming the movie, a layer of super heat insulation board was added to the outside of the entire vehicle.

Originally, this design was intended to highlight the vehicle's performance in extremely cold environments. For example, people who would be frozen to death outside in the movies can take off their helmets and move around in the car.

Yes, this thing is impossible to actually shoot, just like it’s impossible to create a minus 40 degree environment to shoot ice and snow.

But do mechanical engineers care about this?

They read the script and thought, oh, a minus forty degree environment is acceptable, so it’s the polar glacier?

This is a very reasonable question. The working environment of semiconductor circuits must be higher, otherwise there will be problems, so we need to add a thermal insulation layer.

It’s the same old saying, industrial design considers practicality, while art design only looks at the appearance.

The mechanical and chemical industry departments don’t use real industrial insulation, so where can they get some foam boards to apply?

If you have that much free time, you might as well work on the car's electronic control system...

So Alia didn't tell the crew that this heat shield was used on a daily basis by another group of people, also at the Aerospace Center.

The only difference is that she added it to the car, while others added it to the rocket to help the second-stage rocket return to the atmosphere.

The huge transport vehicle crashed directly through the side wall of the studio that was in flames. It was almost melted by the flames. It was impossible for anyone to hide here.

In the thick smoke, the huge transport vehicle had its lights on fully, and the lights with extremely strong penetrating power passed through the smoke and scanned the surroundings.

Su Nan had been muttering before, saying that the lights of these machines and vehicles were a problem, a big problem.

Because when shooting, the prop lights will flicker, and they need to be turned on and off separately to make way for shooting.

For non-realistic vehicle interior lights, it is necessary to connect switches separately during the initial design to avoid some parts not being able to be turned on or off together.

The art team needs two electricians to join...