Disaster Artist

Shen Yanshu looked at Yu Shao in the back seat through the rearview mirror, and he could sense Yu Shao's nervousness.

To be precise, it should be mixed with a little nervous, a little excited, a little anxious and a little anticipation, and the whole person seems a little restless.

Shen Yanshu had never seen such Yu Shao before.

"Brother Yu, how long has it been since you visited the studio?"

Shen Yanshu asked in a deliberate tone, anyway, during the year he served as Yu Shao's assistant, he had never seen Yu Shao visit any of the crew.

Yu Shao always felt that the seat cushion was a little uncomfortable, and he kept adjusting his sitting position. Hearing Shen Yanshu's question, he just needed to divert his attention, so he answered rambled.

"I don't remember, it should be a year or two."

"Lu Qian... To be honest, I can't understand it a little bit. I thought I could understand it, but the truth is that the longer we get along, the more I can't understand it."

"The pre-work for someone to shoot an action movie is as long as a month. I really don't know what to do, so that I start to lose my mind, but he is very determined and very devoted, and he makes people unwittingly. I believe there is a reason for everything he does.”

"What's more funny is that I was persuaded by him."

As Yu Shao said, the preparatory work for "raid" was very long, and the startup time was much later than expected.

In the early stage, Lu Qian recruited the main staff of the crew to live together, and then discussed the lens design of the film.

What's the meaning?

Speaking of lens design, it is actually a comprehensive discussion.

On the one hand, the action design, the entire fighting line and the move routines are carried out by Hong Jiaban.

Lu Qian's requirements are very strict, because the whole movie starts from the first floor and goes all the way to the fourteenth floor. It's like upgrading a game of fighting monsters. The higher the floor, the more difficult it is, but different floors need to set up small levels— - And keep a different style, which places strict demands on motion design.

To a certain extent, in order to reduce the "game feeling" and increase the "movie feeling", Lu Qian avoids the audience as if they are watching the video of the game fighting monsters, so that the coherence of the film can show more layers, so different levels and different situations must be combined. Reality, plot, and more detailed settings.

From group fights to duels, to melee fights, he proposed countless fresh ideas to Hong Jiaban.

At this time, everyone finally understood why Lu Qian insisted on looking for professionals. I am afraid that in the entire Lanchuan, only Hong Jiaban can meet Lu Qian's requirements, and even Hong Jiaban is facing severe challenges——

They have not faced such professional requirements for a long time, and they have to mobilize all the ideas of the whole team to brainstorm to collide with more sparks.

Hong Yuanhe was very focused and devoted, as if he was ten years younger overnight, and he regained the elegance of the Hong family's peak period.

To Hong Yuanhe's surprise, Lu Qian did not ask about the specific situation, but formally described his needs and ideas, and then asked Hong Yuanhe if he could do it. The subtext was , if not, then they need to hire more extras or martial arts doubles to complete the shooting.

Hong Yuanhe gave a positive answer.

Lu Qian did not continue to inquire further, so he believed Hong Yuanhe's judgment, and then threw himself into the work wholeheartedly.

In addition to the accident, Hong Yuanhe was also a little moved. After the meeting, he went outside alone to smoke a cigarette. After coming back again, he was more serious and devoted to his work. The whole Hong family class was full of new vitality. To the lifelessness of the past few years.

Guan Zhou likes the current Hong family class, as if returning to the time when he just joined this big family.

On the other hand, the entire camera team led by Chen Mu must cooperate with the props team, lighting team, and martial arts instruction team to design the shooting route.

When to shoot with a handheld camera tracking, when to shoot with a wire rope track, when to shoot a panorama with a drone, when to switch between medium and close shots, and most importantly, how to edit during a shoot Click to lay the foreshadowing in advance.

These things require a little inspiration. In actual combat, you can often see the shooting of the gods, but more needs to be designed to ensure that the entire crew can clear the direction, and then work together to complete the work.

The problem is that Lu Qian's requirements are very, very demanding. He draws a lot of storyboard scripts and informs the entire team of the pictures he conceived.

Moreover, Lu Qian hopes to show the flow of the shot, and integrate the rhythm and rhythm of the martial arts action into the shot, which also puts forward more requirements for the camera team.

The entire crew knew that when Lu Qian and Chen Mu collided head-on, it was Mars hitting the earth, and everyone would be silent.

In addition, the light group is also in a state of anxiety.

Assault and Unfriend have similarities, but also significant differences.

The similarity is that movies need to make full use of realistic light, avoid stylized light sources as much as possible, and break the realistic experience of watching movies.

The background of the "raid" story takes place at the break of dawn, which is also destined to be impossible to be brightly lit, but the scene should be divided into two parts:

One is outdoors, using natural light sources as much as possible to create an atmosphere through Chen Mu's camera.

One is indoors. Considering the general sleeping situation in the early morning, the main lights are corridor street lamps, table lamps, and so on.

Su Ziyi has been designing lighting, how to make the audience see the picture clearly, and how to naturally create a sense of substitution through lighting changes.

Later, Su Ziyi was forced to read the script repeatedly and intensively, hoping to implant the light source through the plot changes of the script.

For example, the lighting in the corridor should be uniform, but if one of the lights is broken, the balance will be broken, the light and shadow will change accordingly, and the confrontation atmosphere will naturally tilt.

For example, ~www.novelmt.com~ Because of the impact of the fight, the hanging chandelier swayed, and the light source and shadow of the entire room were also in turmoil, creating a visual effect of continuous shaking.

For example, breaking the window causes the rising dawn outside to enter the room, and the effect of natural light presents a different visual effect of fighting.

and so on.

The changes in the plot setting create opportunities for light sources, which in turn deepen the changes in the viewing experience. This is also the part that distinguishes "raid" from "unfriend". Naturally, Su Ziyi's work becomes "dynamic", almost Every game needs to be in motion all the time.

At the same time, Su Ziyi also needs to consider the overall situation. Some scenes use this kind of lighting effect, so does another scene need to be changed? From the perspective of the plot context and climax setting height, these details need to flow with the director's ideas, which can ensure that the viewing experience follows the ups and downs of the plot.

Obviously, the work pressure of the lighting group is not inferior to other groups.