In early June, Fang Yi received the post-production special effects footage from the movie "Love Letter". Instead of sending it to his email, the other party sent three people to personally bring the encrypted hard drive storing the video to his studio.
And in front of him, the special effects company asked for a password before opening it. After obtaining his consent, the videos were copied for him to edit, and the original hard drive was formatted.
The video is played using a specialized software.
The special effects company repeatedly emphasized, "The negatives are still in the company, and it's troublesome to take them out every time. So, Director Fang, what you have in your hands is the only video clip of your movie in the world."
After playing it again, there were no strange distortions, so they said, "It seems there is no problem."
One of them took out a slip and asked him to sign it.
It says that the contract has been fulfilled.
Fang Yi signed and became interested in this special effects company, "You are a base company. I remember that you rendered renderings for Hollywood blockbusters. After so many years of rendering, you should be very capable in China."
The man smiled and said: "Not only in China, but also in Asia, the level is very good, but..." He hesitated, and finally said, "Special effects rendering is actually a manual job, and it is the bottom of the industry chain. We in China
It is the world's manpower factory. We are given the same film, but we have to do it faster and more solidly than those in the United States! Indians are cheaper, but they are not as fast as us."
"You said this is low-end, but what is high-end?"
Several people looked at each other and reached a common opinion, "Developing rendering engines is high-end, and using rendering engines is low-end. After the financial crisis the year before last year, Hollywood's special effects giant Industrial Light and Magic was laying off a large number of layoffs, but the layoffs were mainly at the bottom of the rendering staff.
.”
"——They are unwilling to lay off those key people who develop the engine, at least they are not the first batch of layoffs."
Fang Yi nodded, "I probably understand a little bit. The workload lost due to layoffs in the past two years has been transferred to you. Can I understand that?"
Perhaps because Fang Yi was very young, they felt no sense of distance and smiled: "It's just outsourcing. Director Fang, you give us face... We are also trying to develop rendering engines, but domestic talents in this field have all gone to game companies.
Moreover, what should we develop it for? The local market does not make big special effects films."
Speaking of this, not only these three, but also Fang Yi shook his head.
In this small space, the smiles of the practitioners turned bitter.
The lack of local special effects blockbusters is a problem for the development of the domestic special effects industry. No matter how hard you work, there must be works for them to work on and let them gain experience.
However, it is difficult to find a new domestic team to produce a real domestic blockbuster - no one will give them 100 to 200 million to gain experience, but would rather find an expensive foreign team, or find a Korean team in the middle.
When Fang Yi was filming for "Our Group", the crew's pyrotechnician had an accident, so the producer, China Film and Television, hired a Korean on-site special effects team at a high price to come to the rescue. These Koreans were originally trained for "The Flying Taigeuk Flag"
A team that has already worked on Feng Da Pao's film "Assembly".
Later, Huaxia Film and Television wanted local pyrotechnics masters to steal their skills in the name of helping and use the Chinese copying skills.
However, the Koreans only set up explosion points at night. Not only that, they specifically requested that gunpowder be prepared in a venue without Chinese people. Once they saw any strangers, they would go on strike and drive the Chinese out.
Counting from "Assembly", it has been four years since "Assembly", and the on-site special effects of "Tangshan Earthquake" released this month are still the same Korean team. China Film and Television has stolen a loneliness.
Fang Yi sent away the three people from the base company, locked himself in the room, unplugged the network cable, and started editing the film.
The total footage currently shot is up to seven hours, enough to be split into two movies with completely different plots. His editing was extremely hard, and there were times when he had to start over.
For example, Li Xuejian's performance was very good, and those scenes were carefully thought out, making people want to keep them. However, when the relationship between Liu Tianxian and himself came out, some of Li Xuejian's scenes had to be cut.
And at this time, I still think, "Is it worth it?"
During this back and forth, he didn't leave the studio for three consecutive days, and finally came up with two versions with similar plots but different narration methods.
"Love Letter" has two timelines, one is the high school career of Yin Chuan and Zhihua in the 1990s, and the other is around the Olympics, that is, ten years later, the two people who have become members of the society meet again.
Developing completely according to normal time is one version, and appropriate interludes and flashbacks are another version. The latter is more difficult to grasp.
There is a very classic and commercial narrative method here, that is, it starts with a modern court debate, then goes to the student days and leaves suspense, and ends with a return to the court debate, with a big twist in the ending and a sublimation of the idea.
Is it easy to play like this? It's not necessarily true. "Heroes" uses this kind of narrative method, and the national teacher was sprayed with blood.
But Fang Yi really felt that if the speed could be controlled, the latter would be more exciting. He carefully selected a few videos of one or two minutes, made a short video showing the plot line, and then called Guo Fan to come and take a look.
Guo Fan was surprised that Fang Yi gave him a chance. He hurriedly signed a temporary confidentiality agreement and read two versions in the editing room.
Fang Yi: "How is it?"
"all good."
"Don't use clichés, you must choose a better one."
The short film was played again.
Guo Fan is a well-educated person, and his ten years of media career have made him very good at thinking about people's thoughts. He said bluntly: "Director Fang, I like the latter version, and I have a reason."
He listed, "If I'm making a blockbuster, I'll tell it in a straightforward way, because the special effects and big stars are very attractive, and there's no need to be mysterious - not everyone is the Nolan in "Inception," let alone he can also mess up;
If I were making a normal film, I would leave a little suspense in the editing because I'm afraid the audience would be bored."
Fang Yi pursed his lips and thought about Guo Fan's words in his mind. Unexpectedly, Guo Fan hadn't finished his list yet:
"But the real reason is still you. If you ask me, you must be unwilling to do cliché editing."
"I was answering what you wanted me to answer, so I had to choose the second one."
Guo Fanru said.
Fang Yi felt that Guo Fan was a wonderful man. The wonderful thing was that he was not pretentious. After thanking Guo Fan and seeing off his guests, he went back to the nearby flat floor and slept for the night.
The next day, Fang Yi and the main creator held a closing banquet. At the banquet, he could name almost everyone because there were not many people in total. He also chatted with everyone for a minute or two and asked them questions.
future plans.
"What's next? You still have to take on new work. Of course, Director Fang, if you make a new movie and you need me, I will rush back without hesitation."
It was full of words.
Maybe there is a difference between politeness and seriousness. Fang Yi's crew rarely works overtime, and currently there is no discrimination against lower-level employees. There are even fewer fights and fights, and the team atmosphere is good.
Regarding going to the foot washing city, Fang Yi didn't bother them, but just emphasized that it was not allowed on the set.
"Love Letter" is his first time as a director. It should have some slap-in-the-face plot that readers would like to see, but Mr. San is the producer and instead of saying that, he sent a supervisor to suppress the situation.
No veteran would dare to do anything bad. Everyone still wants to develop sustainably and does not want to be cut off from their future.
When they arrived at Liu Tianxian's place, Fang Yi certainly didn't need to chat with her, but she grabbed Fang Yi's clothes, smiled and said in a long voice, "Director Fang~ Actor~"
"What's wrong?"
"I have enjoyed working with you. You are a professional director," she commented seriously, as if we would not see each other for several years. "I will cherish the experience you taught me and the plays you told me. In addition,
...Ah! Fang Yi, don't pull my face, I'm going to be angry."
Yang said in a long voice, "I'm really going to be angry."
"Oh, it's up to you. You're the director, you're the biggest, you can bully others."
Watching Fang Yi's hand fall, she said, "No, no, I was joking."
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