China Entertainment King of Science Fiction

Chapter 178 Artistic Talent

After DreamWorks started the promotion of "Source Code", Chen Jingxing devoted himself wholeheartedly to the filming of "Gravity".

Lei Jiayin happened to have finished filming the second part of "Xiu Chun Knife". After all, he was not the leading actor, so the part ended early.

Lei Jiayin was sitting on a rather sci-fi mechanical device, in a hollow light box. The inner walls of this light box were composed of LED panels, showing images of space, the space station and the earth.

"To be honest, this is my first time to experience this kind of shooting. It's too difficult." Lei Jiayin laughed awkwardly. His performance just now was mercilessly interrupted by Chen Jingxing.

Wu Yue, who was also wearing a bulky spacesuit and was resting next to him, nodded in sympathy.

Although "Gravity" is a heavy industry movie, for the two actors, the performance was much more difficult than they had done before.

Most of the actors in China are Methodists and Experienceists. In fact, these two schools are roughly the same. They need reference objects, anchor points, and interaction, so actors will emphasize their opponents.

However, during the filming process of "Gravity", the actors completely lost their "opponents". The opponents were not only the actors, but also the location and the actors' imagination of the scene in their brains.

The presence of an opponent can make the actor's performance more realistic and less embarrassing.

In this way, actors can accurately grasp their own reactions and emotions, and determine whether their performance is exaggerated or not enough.

"Gravity" is of course a 3D movie, which is also a major source of its visual shock. There is no difference between this and another classic science fiction movie "Interstellar" that uses 2D.

In "Gravity", a movie with an extremely simple story, Chen Jingxing began to show his artistic talent to the fullest, preparing to stun the audience with stunning shots.

The most exciting thing about movies like "Comet", "Fatal Identity" and "The Signal" is its story and narrative. As a director, Chen Jingxing did not want the audience's attention to be drawn elsewhere from the story itself, so he adopted unpretentious shooting techniques.

, the so-called great skill is like clumsiness.

Animation directors also need to draw storyboards. Even since animation is no longer restricted by real-life shooting conditions, the expressiveness of storyboards can reach a higher limit, or even no upper limit. This in turn places higher requirements on the artistic design level of animation directors——

The only thing that can limit the expressiveness of an animation's shots is the director's artistic aesthetic level and imagination.

You must know that in the few films Chen Jingxing has shot so far, the artistic level of light and shadow performance and lens is not very outstanding. They rely entirely on story and narrative to win.

The shooting of "Gravity" was completely virtual shooting. To put it more bluntly, there is no essential difference from making 3D animation.

Many employees in Mo, including Xu Sheng and Xiang Xuan, have a high level of appreciation for movies, especially the animation department. After seeing Chen Jingxing's amazing artistic talent in "Gravity", these people have a deep appreciation for Chen Jingxing's work.

The evaluation quickly changed from "He is good at telling stories, but not good at playing with lenses, light and shadow" to "He just doesn't want the light, shadow and lens to take over the spotlight."

After each shot is shot, it will be sent to the Legacy pre-production processing center built on the other side of Dapeng. After processing, it will be sent back to the headquarters in the United States for rendering frame by frame, and then sent to Ink for 3D conversion.

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Although virtual shooting allows Chen Jingxing to "showcase his talents", it is naturally more embarrassing for actors. Most of their shooting scenes are in built-up light boxes. In fact, in order for Chen Jingxing to make it easier for actors to enter,

The inner wall of the light box has been covered with LED screens, which display CG preview images to help the actors perform.

Of course, the advantage of this is that Chen Jingxing can create very shocking shots at will, especially long shots.

After thinking about this in his mind, Xu Sheng exclaimed with admiration on his face: "Director Chen, when this movie comes out, I dare not say how it will be at the box office, but it will definitely shock the film critics."

It's okay for Lei Jiayin. After all, he doesn't have many scenes and his character arc is not full. Wu Yue's performance is more difficult. However, Chen Jingxing feels that it's just that Chinese actors rarely come into contact with this kind of shooting method. He needs to wait and adapt to it.

After a while, there shouldn't be much of a problem.

After all, film critics have the same view of Chen Jingxing as they did before - good at story, bad at light and shadow, a purely commercial director without much artistic talent.

However, during the filming of "Gravity", Lei Jiayin and Wu Yue could not imagine what kind of effect their performance would have in the end. This caused them to lose control of the scope of their performances and often fell into embarrassing and awkward situations.

To the point of being funny.

There are several stunning long shots in the original version of the movie. Of course, this is not actually the credit of the photographer. Chen Jingxing also believes that several shots designed by Cuarón are impeccable - although the long shots of "Gravity" are not realized

It doesn't require the photographer's extraordinary performance, nor does it test the director's precise scheduling of the crew, but being able to design such a long shot itself reflects the director's extremely high artistic level.

Several sets of long shots and many storyboards "designed" by Chen Jingxing in "Gravity" are extremely amazing to senior animators like Xiang Xuan.

So when Chen Jingxing asked Mo to produce the CG preview of these long shots, Xu Sheng and Xiang Xuan, the leader of the special effects animation team who were present at the time, both looked at Chen Jingxing with surprise and admiration. According to Xiang Xuan's original words: "Chen Jingxing

Director, even if you change your profession to be an animation director, you will definitely achieve outstanding achievements."

"Interstellar" was shot on film. In fact, there are not many special effects in this movie. The spaceship is a model, and even the five-dimensional space is a built model. Only 2D can truly reflect the texture of his shots.

"Gravity" is basically a 3D cartoon, and converting it into 3D effects will only enhance the expressiveness of its lenses.

And usually more experienced actors can directly judge the effect of a scene after filming it. He can even imagine the effect of the scene.

However, "Gravity" was not shot with a 3D camera, but was converted into 3D in post-production. The reason for this is that first of all, the light box cannot fit a 3D camera - the 3D camera used for filming is larger than many people imagine.

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Secondly, it is a virtual shooting itself, so there is no need to use a 3D camera.

When a 3D animation is converted into 3D, it won't have the same inferior quality as most live-action movies that are converted into 3D, or only have subtitles and bullets in 3D, so Chen Jingxing is confident that the 3D effect of "Gravity" is one of the best among all 3D movies.

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Most of the movies shot using 3D cameras in this dimension are Hollywood comic-book movies, and almost all of them are shot using 3D cameras, so the 3D effect is definitely far better than other movies converted to 3D. However, the limitations of the scenes of superhero movies themselves lead to their

The 3D effect is definitely not as shocking to the audience as "Gravity".

(End of chapter)