Film special effects for the film industry should be "in place not offside," and the strong muscles of technology are prepared for a strong creative heart.

A 200-meter-wide, 10-kilometer-long, low-altitude “fly” over the city; the small fish in the fish bowl on the table “pulled out”; the textbook was “long” full of mold, and the man was exposed with only the remaining stumps. In the people's impression, only the scenes that are indiscriminate and related to life and death require the help of special effects. Surely, the blazing skills such as “2012” and “Avatar” have proved to the world that superb special effects technology can make the movie How shocked the experience has become. However, with the full penetration of the technological power of the film production process, as large as tens of millions of horses, a small acne on the face of the dramatists, special effects technology can meet the director and achieve.

However, the real problem is that “content is king” is always understood as the artistry of the script itself, while ignoring the extra points that technology brings to the viewing of the film. Chinese cinema has a long history of focusing on art and technology. "A good script is everything." This is true, but when the director finally got an impact drill and started cutting together, he was able to move with his heart. As you wish, your imagination in the head becomes the reality on the screen.

In the long process of director growth, not only must learn to communicate with the producer, communicate with the cast, but also learn to communicate with the technology. Special effects are the weapon of service for content, but it is not a killer to guarantee the stability of box office. Since the development of the film industry, technology has been a topic that cannot be undone. However, how to make technology in the film production field and not to be offside, so that the director does not rely on the energy generated by the technology, it is the person in the core area of ​​film production should be Always think about issues.

Creative driving technology

Special effects refer to the use of special digital techniques and methods for simulations when there are unrealistic natural environments or scenes and scenarios of character representation in the process of filming or post-production. In other words, the reality cannot be accomplished, and special effects help you achieve it.

If a Chinese director has a “literate student” temperament to some extent, Hollywood directors are more like a group of “science students”. The cultural heritage of China for thousands of years has caused directors who grow on this land to always have endless literary sentiments; while some Hollywood directors are more like scientists, they love the future, outer space, and the water world, pursuing even more dazzling visual effects. More realistic effects production, constantly making problems for special effects production staff, and even give yourself a problem.

Just like James Cameron filmed "Avatar," he found himself looking for Sony to customize a 3D camera; 35 years ago, George Lucas, a film maker who was also persistent but could not find technical talent, took photos. Star Wars actually set up its own special effects company, Industrial Light & Magic, and started the modern film special effects industry. Subsequently, in 1990, James Cameron co-founded Digital Domain, one of the four major movie production companies in the world.

As a special effects industry that accompanies the film industry, meeting the different creative needs of directors is the fundamental driving force for its R&D and upgrading. In the 1970s, Hollywood was rarely even seen as a "special effects department." However, after decades of development, European and American special effects companies have formed professional distinctions within the industry and their distinctive features. These forces are integrated to form a first-class special effects production level. The effects shots of the series "Harry Potter" and "The Lord of the Rings" were jointly completed by several companies, and even the companies responsible for making the flames and making ripples were all different companies.

However, at home, the movie special effects production industry started late. “Thousands of people around the world are doing this now, but the average age is 40 years old; there are more than 100 people in China, and the average age is 26 years old. Basically, after graduating from college, they have just worked for three or four years.” explained Dr. Wu Bin, President of Greater China, Technicolor. "The domestic project managers are an average of more than 30 years old, but the average age of our overseas managers is around 50. So to catch up with the international level, it takes 10 years for the practitioners to mature."

However, there have been some extreme phenomena in domestic movie production. In 2010, a "Avatar" let the world recognize 3D technology, but also saw the use of high-tech to the movie fare. For a time, a large number of liberal arts students turned themselves into technocrats, and the application of 3D and CG technology became a scent and even became a cartwheel for “special effects and special effects”. After all, a handful of directors can achieve the same strong investment and technology as Cameron. “Avatar” shot 200 million U.S. dollars, and special effects produced 280 million U.S. dollars. The shooting phase lasted five years, and the special effects were done for three years. It is unthinkable that the budget will be overspending. Even so, "Avatar" is still accused of being merely a "technological victory."

While the creative needs of the director push the special effects technology up and down again, they should also be alert to the confusion caused by special effects technology. The rational use of technology is the icing on the cake, but the mere visual impact can not make up for the defects of the content. Therefore, how to make good use of technical tools to achieve a balanced state is also a door of learning.

Think Clear - Explain White - Right

"Actually, I prefer to classify film special effects as a technology service industry," said Liu Jianru, vice president of Beijing Crystal Stone Film & Television Media Technology Co., Ltd. “This problem is very simple, it is to improve customer satisfaction.” But this simple and straightforward goal is not easy to achieve. First, the director lacks cooperation experience with special effects production; secondly, special effects production staff. Few people can take into account the cinematic perspective. Communication between technology and art requires a bridge.

Many directors take pride in shooting a certain lens or a certain bridge section. Continuous experimentation and adjustment are the persistent pursuit of art. After having a digital camera, the director can shoot a lot of material at a lower cost. But for film special effects, this is almost a molding art. The director can let the actor interpret a shot in three different ways, but the director is far from the same kind of force and strength to make three different scenarios for special effects because in this industry, the cost of "try" is too high, so the director first I have to think clearly.

However, it is necessary to find out what kind of scenario the director is contemplating. He also needs the right person to ask him questions. How to understand the technical needs of understanding the arts, and to allow artists to create art to better describe the description to the technical staff? After several improvements in communication, Liu Jian was still unsatisfied and the customer awoke him with a casual word.

"A director gave me feedback and felt that it was seamless with the little brother we visited this time." Liu Jian understood the problem. The original “little brother” was a director of North Shadow who was recruited by Crystal Stone Film and Television. At the time, Liu Jian did not send a technical director to dock with the customer. Instead, he sent the director to connect with another director.

The coincidence of the language system and the knowledge system allowed them to have a chatter. Since then, Crystal Stone has established a director art group dedicated exclusively to those who learn film production to complete the work of “taking in” the director’s mind and acting as a technology and film. Bonds and bridges. The prerequisite for professionalism and dedication is mutual understanding.

Between the domestic filmmakers and the action special effects production team is also like a friend just met, but the director who has used several special effects abroad will become more familiar. “Experienced directors will understand what you mean. For instance, when it comes to smoke, he will ask for a slow start until it finally gets thicker. Then it needs to cover what is in the lens and where it should stand out.” Wu Bin explained "Because he clearly knows how much special effects can be achieved, the more he asks, the more helpful he will be."

For those who were first exposed to movie special effects production, because they didn't know what special effects could do for him, they would rely more on special effects teams. However, the visual director usually asks questions in the end, allowing the director to give specific and even quantifiable descriptions and requirements. Then he draws the subdivision maps and matches the technical capabilities of the back-end technical staff. This means that the director’s creative requirements can be met. Conduct feasibility studies. Finally, according to different creative needs, the actual shooting plan is formulated to complete the on-site information capture for the production of special effects lenses. In the whole process, the visual director is equivalent to the client's agent in the special effect production company, at least on the artistic level.

Faced with the lack of many jobs in the field of domestic special effects production, the phenomenon of multiple roles and replacements has often occurred. But the most important thing is, "There is one thing that is critical in film special effects. It should not be hosted by IT, nor should it be hosted by scientists. It should be chaired by filmmakers." Liu Jian said loudly.

It is true that the film was not shot by an engineer. The role of the director is still increasingly prominent. It is only in this process of "thinking clearly - explaining whiteness - doing right." There is still a lot of cooperation consciousness that the director needs to enhance and develop. Whether you can do it right depends on the special effects producers.

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