China Entertainment King of Science Fiction

Chapter 85 Party A in the Dream

Theoretically, post-production special effects should be part of film production, but in fact it is true in some mature film industry systems.

However, in the current Chinese film and television production, these two links are relatively separated, and the post-production visual effects production is often independent of normal film shooting.

The production company bought a fixed amount of work from the post-production visual effects company at a price.

However, the film changes all the time during the creation process, and no matter how rigorous the production process is, it cannot be avoided. The actors' schedule will change, the editing will be postponed, the art setting plan will change, the director will also change the script plan, and even a certain star will ask the company to clean his face and hair in the later stage, which will cause 99% of the visual effects production plans to be disrupted, which will bring additional time and labor costs.

In the view of the producer, as long as the company's total workload does not change much in the later stage, it is impossible to add additional funds to you.

This makes the production costs and production schedules that are already very detailed in the visual effects company become even more stressful.

In the end, I forced the visual effects company to fool around and make things perfunctory. Even those who were originally responsible would become muddled over time.

The method Chen Jingxing wanted to use was equivalent to directly keeping the special effects production and putting it into the crew for a big pot meal.

This method is not without problems. First of all, the producers must have producers who can understand the workload of visual effects in the later stages of visual effects, and the visual effects companies must be honest and trustworthy, and also need a powerful production system and scheduling system that a mature film industry has.

That's it? That's the requirement?

His team takes thirty or forty orders a year, and works overtime all night and earns so much money. Now he is producing such a work and can still eat big pot meals with the crew. He doesn’t need 007 or all night, and gets tens of millions of dollars.

In addition to DreamWorks supporting them to build their own rendering farms and purchasing some related software from foreign manufacturers, the new cooperation model proposed by DreamWorks really touched him.

"Is there such a good thing?" Wang Yibing, the chief concept artist in the team, asked in disbelief. Wang Yibing is also one of the founders of Mo, and his shares are second only to Xu Sheng.

Xu Sheng returned to the studio and called several senior executives in the group team to hold a meeting and convey the purpose of DreamWorks.

Mo's four founders are all from production. Some learn oil paintings, some learn animations, and some learn digital media. They all have strong aesthetic foundations and technical pursuits. The common point is that they do not have so many economic needs and goals.

Li Huicheng continued: "Of course, Director Chen has very high standards for special effects production. Your schedule must follow the movie throughout the process. The special effects engineers must intervene in the design of the film during preparation, and you must even participate in the design of the storyboard script. If this cooperation can be achieved, DreamWorks will hire you as the special effects director of this movie, and the production cycle will probably last for half a year."

This is too beautiful.

Therefore, it is basically impossible to promote this model at this stage, and Chen Jingxing is not a big shot in film and television, and he does not have the power to promote it.

The problem is how to stimulate their upper limit. Chen Jingxing believes that tolerant production cycle and production funds are the first step.

Xu Sheng said in a deep voice: "They agree that these terms can be written in the agreement."

40 million?

Xu Sheng could no longer control himself, which was almost equivalent to Mo's annual turnover.

Wang Yibing is not so moved by someone who spends huge amounts of money to buy their shares.

If possible, he would not allow him to hand over unqualified or even perfunctory special effects shots from his hands. It was just that the skinnyness of reality forced him to learn and even get used to compromise.

Xu Sheng suppressed his beating heart: "Sorry, I still have some work here that has not been completed. After I go back, I will discuss with the other three shareholders and I will reply to you. What do you think?" He was afraid that if he would continue to eat this meal, he would sign the agreement on the spot.

He just wanted to make his movies well. Although the technical level of the visual effects industry in China is far less than that of the developed film industry, it is definitely not as bad as that in most film and television dramas.

Yang Dairong felt that the time was almost the same: "Mr. Xu, please believe in DreamWorks' sincerity and Director Chen's sincerity. I would like to ask you to come to Beijing in person. The two companies can frankly communicate what your vision for Mo's future and what position DreamWorks has for Mo."

Xu Sheng felt that he might have had auditory hallucinations: "What you mean is that I can give a list of personnel according to work needs, and DreamWorks can pay the bills based on the number and level of people per month, just like the crew paying people in the art department?"

Why, is DreamWorks a philanthropist?

Li Huicheng, who was sitting next to Yang Dairong, spoke out: "Mr. Xu, Director Chen values ​​quality. If he can spend 10 million more, he can bring better results, DreamWorks will never hesitate. Moreover, DreamWorks' next science fiction film project is expected to invest at least 40 million in post-production visual effects production!"

In his eyes, these requests made by DreamWorks were simply the first party in his dream.

Moreover, the source code movie is not a science fiction blockbuster. In fact, as long as the domestic excellent special effects companies can perform their due level, they will be able to cope with it.

Yang Dairong said in his heart that there was a chance and said with a smile: "It is limited to movies produced by DreamWorks. We do not have the ability to make other companies agree to adopt such a cooperation model."

Xu Sheng was a little suspicious: "In this case, the cost of the visual effect in the later stage will definitely be higher than before."

If they really want to make a lot of money, they can't keep such a team. The money they have made over the years has basically been invested in improving technology and polishing skills. For Wang Yibing, challenging the production of more technically difficult pictures is his career pursuit and goal.

Another founder and animation team leader Xiang Xuan pondered: "The director Chen Jingxing is indeed very imaginative and ambitious. He dares to break through the framework to explore these edge-type film themes. I think it is more credible that he can propose such a model. This is obviously learning from Hollywood."

Everyone else nodded. Mo took over some Hollywood studio outsourcing, so he is no stranger to the film industry production process on the other side of the ocean, especially the special effects production process.

In Hollywood, special effects production is an inseparable part of film production. It usually enters during the film preparation stage, and even directly participates in the adaptation of scripts and the design of storyboard scripts.

Because during the writing of the script, the screenwriter or director generally does not consider the difficulty and cost of implementing special effects.

(End of this chapter)