As we all know, in addition to space opera science fiction films such as "Star Wars", some science fiction films involving future technology basically have scenes of weightlessness.
The "Hope" micro-movie belongs to the latter, and even has a bit of a hard science fiction tendency, and the presentation of weightless scenes is naturally indispensable.
When Chu Xuan and Liu Yifei were imagining the story of "Hope", and later when discussing the plot with Liu Yi, they hoped to present various plots that could embody the elements of 'science fiction' as much as possible. With this idea
Come and discuss with Liu Yi.
Regardless of whether he was paid to do things or was responsible for his responsibilities, Liu Yi lived up to his reputation as a gold medal screenwriter and combined some scientific information to write out these "science fiction" plots one by one.
However, the writing is written, but how to use the camera to capture these scenes is another problem for Fumino and others who have little experience.
"The spacecraft fell. I can imagine that the interior of the spacecraft must have been shaken, and some objects were also flying around due to the vibration, thus floating in a weightless environment." Kong Sheng said.
Chu Xuan, Liu Yifei and the teachers nodded. The spacecraft fell from the starry sky and was shaken internally. Some notebooks, screws and some small objects were separated from their original positions and floated in the air. It is not difficult to imagine such a scene.
Moreover, such a picture is logical.
It would be strange if the spacecraft crashed and there were no changes inside the spacecraft.
"But I have a question. Hasn't the spacecraft crashed on the planet? This planet still has oxygen, so why is there a weightless environment?" Kong Sheng asked.
Li Xue and the teachers raised their eyebrows and looked at Liu Yi.
Liu Yi is the chief screenwriter, so he naturally needs to answer this question.
When Liu Yi heard Kong Sheng's question, he lowered his head and flipped through the script, then pointed to the character's lines on a page and said: "I explained this setting in the form of lines. Teacher Kong probably didn't read the details."
"Before writing this plot, I looked up relevant scientific information, and also asked a writer friend of mine, Liu Cixing, who has done research in this field, and got some answers."
"First, the spacecraft crashed, but the appearance of the spacecraft was intact. This is the basic setting."
Everyone nodded.
"Since the outer surface of the spacecraft is intact, if the oxygen system is damaged and the oxygen is consumed, there will be no oxygen in the cabin."
Everyone continued to listen.
"The environment without oxygen only means that the space pressure is extremely small, but it does not mean weightlessness."
"In other words, weightlessness has nothing to do with gas, and has nothing to do with gravity."
"The gravity of the planet where the spacecraft crashed is a few tenths of that of the Earth. So walking on this planet is like walking on the moon, floating and weightless."
"This is the reason why a weightless environment exists after the spacecraft crashes on a planet with air and gravity, and in a closed cabin, after both the oxygen system and the gravity system are damaged."
Kong Sheng and Li Xue were thoughtful for a moment, and then slowly became enlightened.
"I don't understand these professional knowledge, but I understand Teacher Liu's explanation." Kong Sheng smiled slightly, then thought for a moment, and then said: "In other words, in the script, in the entire spaceship, only Chu Feng and Liu
The gravity system and oxygen system of the cabin on this level where Akane is located are in good condition."
"Yes." Liu Yi nodded and said: "In order to cultivate two clones, Chu Feng and Liu Qian, scientists separated the system circuits of the spacecraft. Therefore, when the spacecraft fell, Chu Feng and Liu Qian
The system in the cabin where Akane is located is not damaged, which is logically consistent."
"But when there was insufficient oxygen, Chu Feng and Liu Qian found the hatch on the ground that was blocked by debris in order to escape."
"When the hatch is opened, there is air with oxygen on one side, and there is an environment without oxygen inside the hatch on the other."
"The pressure of the environment without oxygen becomes smaller, and the pressure of the environment with oxygen substances is higher. The collision between the two will form a strong impact force."
"In other words, the air on the other side where Chu Feng and Liu Qian are located will suddenly produce a strong thrust on them, pushing them into the cabin behind the hatch instantly, so this shot needs to create a sense of terror.
."
"Due to the violent fluctuations in the air, the system of the cabin where Chu Feng and Liu Qian were located sensed it, and then activated the protection mechanism, and the gravity system and oxygen system automatically shut down."
"At the same time that the gravity system automatically shut down, due to the gravity of the planet, all the objects in the cabin where Chu Feng and Liu Qian were located began to float slowly. This was also a shocking scene."
"And this plot will push the plot to a climax. Whether Chu Feng and Liu Qian can escape when the oxygen drops sharply will make the audience feel even more nervous and exciting."
Wen Muye smiled at Liu Yi and said: "Teacher Liu's plot design is really good, full of drama, but also combined with scientific knowledge, it has a bit of a hard science fiction flavor."
Wang Bowen continued: "Chu Feng and Liu Qian opened a hatch, and the oxygen was reduced. When they opened a hatch, the oxygen was reduced again. I like this escape plot. It's exciting to think about it."
Chu Xuan and Liu Yifei nodded slightly, they also liked the plot designed by Liu Yi.
Oxygen originally only filled one cabin. As they looked for a way out and opened one closed cabin door after another, the oxygen would collide with the vacuum in one vacuum cabin after another and spread rapidly. This also meant that
The density of oxygen will decrease.
In other words, the oxygen will become thinner as the male and female protagonists escape.
If this plot is well acted, it can create a lot of tension in the audience.
Li Xue said slowly: "No wonder Chu Xuan and Qian Qian don't need to wear spacesuits in this plot. It turns out that the air with oxygen poured into the cabin, causing the cabin to have oxygen. However, the gravity system was shut down, and Chu Xuan and Qian Qian had to perform weightlessness again.
feel."
Kong Sheng also understood now, but said: "To simulate weightlessness, we can use the method of hanging wires. Chu Xuan and Qianqian, together with Teacher Wia, can stage this weightlessness."
Wang Bowen nodded, crossed his legs and said: "Many science fiction films in Hollywood also use the method of hanging wires to create the feeling of weightlessness. This is not difficult as long as the actors and Teacher Wia cooperate well."
Wen Mino turned his head and reached for the mineral water in front of the monitor. He twisted the cover and said, "Senior brother and sister have very good figures and can mobilize their bodies very well. I believe it will not be difficult to shoot without gravity."
Liu Yifei quietly stretched out her right index finger to poke Chu Xuan's waist. When Chu Xuan turned his head to look at her, she muttered: "It's so tiring to control your body."
Chu Xuan burst into laughter. Liu Yifei, a Wia actor, had a deep understanding of this aspect when filming "The Condor", so he took Liu Yifei's hand and kneaded it a few times to encourage her.
"But how do you photograph weightless objects?" Wen Muye finished a sip of water.
As soon as she finished speaking, Liu Xiaoli's cell phone rang, interrupting everyone's thoughts.
Liu Xiaoli gave everyone an apologetic look, opened her bag, took her cell phone, and stood up to answer the call.
After answering the call for a moment, she turned to Chu Xuan and said, "Director Chen and the others are here."
Chu Xuan's eyes lit up, he stood up and said with a smile: "Here comes the person who solves the problem."
He followed Liu Xiaoli's steps as she walked out.
Wen Muye and Kong Sheng were a little dazed, not knowing who Director Chen and the others were referring to.
"Director Chen Kaige, Director Tang Jili, and Director Zhang Jizhong are here." Liu Yifei said, getting up and following Chu Xuan.
The teachers were stunned for a moment and then quickly reacted.
Director Chen, whom Liu Xiaoli talks about, can come to the studio again, and no one else can come to the studio except Chen Kaige, a shareholder of Brilliant Era.
Although I don’t know why great directors like Chen Kaige came here, out of respect for their seniors, Wen Muye and other teachers stood up and walked outside the studio to prepare to greet them.
Halfway there, they saw Chen Kaige, Tang Jili and Zhang Jizhong walking over with their respective assistants.
"You are really popular, there are reporters at the door, and there are tons of paparazzi." Chen Kaige teased Chu Xuan and Liu Yifei.
Having been in the entertainment industry for many years, Chen Kaige and others knew that these people were here for Chu Xuan and Liu Yifei as soon as they saw the many reporters and paparazzi at the door.
Chu Xuan and Liu Yifei smiled, did not answer the topic, and greeted each other warmly.
"Teacher Kai Ge, Teacher Tang, Brother Zhang." they said respectively.
Wen Mino and Kong Sheng also said hello.
"Hello everyone." Chen Kaige and the others replied respectively.
The group of people walked and chatted, leading Chen Kaige and others towards the studio.
After arriving at the studio, Wen Muye and others were introducing, while Chen Kaige and others were visiting.
"This scene is well set up," Tang Jili said.
"Thanks to Teacher Wang Bowen for his precise composition." Wen Muye said.
Chen Kaige and the others glanced at Wang Bowen, who said on his forehead: "Teacher Wang has worked in Hollywood for several years in special effects. This scene and the green cloth layout make it clear that he is an experienced professional."
"I'm always on the road to learning." Wang Bowen said modestly.
After looking around, he led Chen Kaige and the others towards the monitor.
"Teacher Kaige, Teacher Tang, Brother Zhang, you guys came just in time, we just happened to have a problem." Chu Xuan walked into the studio.
"That's a coincidence. Let's talk about it. What's the problem?" Chen Kaige said calmly.
The steward brought three chairs and everyone sat down.
At Zhang Jizhong's suggestion, Liu Yi distributed three scripts, indicated the page numbers, and told the three directors the scenes that had difficulty shooting.
Chen Kaige and others were reading the script while listening to Wen Muye explain the difficulties of filming.
"Has this script been changed?" Chen Kaige said. They had read the original script of "Hope" and found the differences.
"Yes, Sissi proposed a space concept, and the door was set on the ground." Liu Yi nodded.
"Well done! I like this shot, it's very imaginative in space." Chen Kaige praised it. Tang Jili and Zhang Jizhong looked at Liu Yifei, nodded in appreciation.
The corners of Liu Yifei's lips gradually turned up, she was a little happy because the shot she changed based on her suggestion was praised by the great director.
After reading the script for about ten minutes and listening to Wen Muye's narration, Chen Kaige lowered his head slightly, still looking at the script, and said: "As you said, there are two difficulties. One is that when the gravity system is turned off, Chu Feng and
How to take a picture when the objects in Liu Qian’s cabin slowly start to float; one is how to take a picture when there are floating objects in every cabin.”
Wen Muye nodded, and Chu Xuan and Liu Yifei made a listening gesture with the teachers.
"Can't we use special effects?" Tang Jili asked.
Wang Bowen shook his head and replied: "It can be produced with special effects, but there are too many elements and the time cost is too high. Mr. Chu and Producer Liu have to hand in the work at the end of June, so there is not enough time for this production."
Tang Jili nodded slightly to express his understanding.
Chen Kaige held the script in both hands, looked up at Wen Muye, and said, "A Space Odyssey directed by Stanley Kubrick was released in 1968. Did you know?"
"I know." Chu Xuan, Liu Yifei and Wen Muye said in unison.
"I watched it at Beijing Film Academy, and it was used as an educational film to develop lens thinking." Wen Muye said.
"We watched it in our freshman performance class, a simulated performance," Liu Yifei said.
Chen Kaige nodded and said: "Due to the conditions of the industrial base at that time, the weightlessness was completely simulated by people walking around. Without the cooperation of wires, if you just look at people, it seems that the weightlessness is not strong."
Chu Xuan and Liu Yifei, Wen Muye thought about it for a moment. There was a scene in this movie where a woman was walking around in the cabin. Although she walked very slowly and looked like she was weightless, she could still clearly feel that the traces of this woman's acting were very heavy.
, resulting in some distortion of the picture.
Chen Kaige added: "But there is a pen floating in the air and slowly rotating. This shot in this movie uses a method of changing the trajectory of the object to set off the atmosphere of weightlessness, which made the movie fans at the time exclaim that it was magical."
Chu Xuan and Liu Yifei, Wen Muye thought for a while and nodded.
Although it doesn't look amazing now, this lens could be said to have created a new path for science fiction in 1968.
"How was this lens made?" Chen Kaige held the script in one hand and gestured with the other: "They used a thin piece of transparent glass, then fixed the pen on the glass, and finally manually turned the glass to drive the pen to rotate.
Under the lens of adjusting the camera shutter and focal length, the pen appears in slow motion, achieving the effect of floating in a weightless environment with an object's movement trajectory."
Chu Xuan and Liu Yifei were suddenly stunned, while Wen Muye and the teachers were thoughtful.
"I understand what Director Chen means." Kong Sheng said, "However, in the scene in "A Space Odyssey", only a pen loses weight, but in our script, many objects lose weight."
"Facing an object stuck to the glass, we can make the reflection of the glass disappear by adjusting the camera parameters."
"There are many objects stuck on the glass, and there is a panoramic view in the script. Then the camera lens penetrates layer after layer of glass under the illumination of the light. I find the layers of reflection difficult to deal with. Reflection
If not handled properly, the glass will be photographed by the camera and exposed."
Everyone frowned. The problem raised by Kong Sheng was indeed difficult to solve, and they couldn't help but think about it.
Chen Kaige smiled, as if he had a solution, but he didn't say anything, as if he was watching a show.
After a while, Liu Yi suggested: "We can cut the glass. There is no need to use a complete piece of glass. We can even cut the size of the glass into an area smaller than the size of the object, so that the object can completely block the glass."
"Just cut the glass into a regular shape, such as a square or a diamond, and then we thread two steel wires through the opposite corners of the glass."
"Finally, the staff were asked to go to the roof of the scene and carry two steel wires to make regular movements, thereby driving the movement of the object and giving the object a trajectory."
Liu Yifei spread her hands and smiled: "Isn't this enough?"
Chen Kaige stretched out his hands and clapped slowly, saying, "Teacher Liu is smart."
Wen Muye lowered his head in thought and suddenly raised his head, saying: "Brother Liu is awesome! This is a good idea!"
"That's okay." Kong Sheng nodded.
"You can give it a try." Li Xue's lips raised slightly.
"But..." Liu Yifei had some questions: "But the objects in the script also include small objects such as pens and screws. How can the size of glass be smaller than these objects?"
Hearing this, Fumino pointed at the script and said: "Most of the objects in the script are relatively large, such as a newspaper, a teacup, a piece of clothing, etc. These objects can be moved with glass smaller than them.
.After these objects are solved, the other small objects can be glued on with glass that is larger than them, but we can stagger these objects."
"What Teacher Kong was worried about just now was that the front and back of the glass overlap, causing multiple reflected lights that the camera cannot handle. But now that most of the objects have been solved, the remaining small objects can be arranged left, right, up and down."
"In this way, the camera only needs to deal with one layer of glass reflected light. If there is only one layer of reflected light, it is very simple to make this layer of reflected light disappear by adjusting the parameters of the camera."
"When the reflected light disappears, the glass loses its light source in the lens, and the object that loses its light source becomes dark in the camera's image."
Liu Yifei understood for a few seconds, nodded repeatedly and said: "I understand."
"One more question." She raised a hand.
The teachers looked at her cute look with her hands raised like a student, and they were amused and looked at her.
"Since you can use steel wire to move objects, why do you have to use glass? Isn't it good to directly penetrate the steel wire into the object?" Liu Yifei asked curiously, her face filled with the desire to gain knowledge.
Liu Yi shook his head and explained patiently: "From a physical point of view, when an object keeps moving in a weightless environment, as long as the weightless environment does not disappear, the object will move in a regular manner for eternity under the influence of constant gravity.
There is only a difference between fast and slow movement, but the movement must be constant and regular."
"Most of the objects in the script are irregular. The irregular objects are moved by the staff with steel wires. It is difficult to make the objects move in a constant trajectory using human power, especially on the big screen.
During the presentation, it will show a picture of various objects moving in a chaotic manner, which is not in line with science."
"The cut glass is a regular object, just like the squares and rhombuses with the same side length I just mentioned. It is relatively easy for manpower to drive these regular objects to move. As long as the glass is made into a regular shape, for example
According to the rotation movement, the objects on the glass will also rotate according to the rules."
"As long as it rotates once regularly, the rotating object can be kept on a constant and regular trajectory during post-processing."
Liu Yifei lowered her head and quickly took notes on her notebook. Although she still couldn't understand it, she was deeply shocked.
Tang Jili said to Liu Yi: "Teacher Liu is professional."
Chen Kaige also said: "Logically speaking, screenwriters actually have much more professional knowledge than directors and producers, but there are not many such screenwriters in China, and Teacher Liu is one."
"He knows a lot, from astronomy to geography." Zhang Jizhong, who has worked with Liu Yi for many years, praised him.
"Hey! Brother Zhang, you are here to kill me, right?" Liu Yi didn't know whether to laugh or cry.
Wen Muye grabbed Liu Yi's shoulders and said, "Brother Liu, don't be humble, you are really awesome."
"Okay, okay." Liu Yi couldn't stand the "praising and killing" and said quickly: "We have found a method, let's do it quickly."
"I'll do it." Teacher Yang, the leader of the props team, stood up.
"I know this kind of transparent glass and have used it several times before," he said.
"The master who cuts the glass must be invited to the studio, otherwise he will not know how to cut it." Chen Kaige reminded.
Teacher Yang shook his head: "Director Chen, how do you cut glass? Everything will break. Ask the master to come over and take a look at the size of the props, and then customize them according to the teachers' requirements."
Zhang Jizhong laughed loudly and said: "Yes, how do you cut the glass special girl? You guys haven't found this logical flaw after chatting for a long time. It's quite funny."
Chu Xuan, Liu Yifei and the other teachers were startled, and then they became happy.
Maybe I was so focused on chatting that I forgot this bit of common sense.
"Mr. Chu, if you ask the master to come over and customize..." Teacher Yang said.
Chu Xuan raised his head and replied to Teacher Yang: "Money is not an issue, I want efficiency."
"That's easy." Teacher Yang smiled slightly and led an apprentice from the props team out.
Wen Muye glanced at Teacher Yang, then looked at Chu Xuan and Liu Yifei, and said: "Brother and sister, the subsequent escape scene has been postponed."
He paused for a moment, glanced at Chen Kaige and the others, and said: "Three directors just happened to be here, so let's shoot the most difficult scene, which is the 3D space shot where you find the hatch?"
Hearing this, Chu Xuan and Liu Yifei looked at Chen Kaige and the others.
"What are you looking at us for?" Zhang Jizhong narrowed his eyes and asked.
"Teachers, please give me some guidance." Liu Yifei said cheerfully.
Chen Kaige flipped through the script, becoming more and more interested as he read it, and said, "Go and prepare. I have never seen such a scene before. It's interesting."
Seeing that Chen Kaige and the others were willing to give guidance, Wen Muye's eyes flashed with excitement. He stood up and said to Kong Sheng and them: "Teachers, prepare lights and lenses."
"Senior brother and senior sister." He said to Chu Xuan and Liu Yifei again: "Make up and change clothes?"
"Okay." Chu Xuan and Liu Yifei stood up and walked towards the dressing room.