"Listen to Xu Ke, the special effects of this film are ready to be taken over by the people from your special effects company?" Wang Xuxian asked with concern.

Wang Xuxian, the special effects of the first part, still remembers very clearly, at that time, Qiao Feng's special effects company was still in a state of technology accumulation, and the investment was not much at that time, and the special effects budget was not much.

So, from the very beginning, the special effects were made with the soil method.

I have to say that Xu Ke is currently the most popular among Chinese people to play with technical control, and Cheng Xiaodong is also one of the few people in Wuzhi who likes to ponder special effects technology.

Not to mention that Cheng Xiaodong is a versatile martial artist, he can design the actions that the director wants at the request of all directors, and he can also use his brains to make very realistic and magical props to match his action design when filming monster movies.

When Xu Ke met Cheng Xiaodong, the duo was called "a fellow practitioner in the field of fantasy and romance who strives to use the past for the present and the foreign for China".

At that time, "A Chinese Ghost Story" was only in the special effects technology, and it was destined to be full of brilliance that broke through tradition and boldly innovated.

Xu Cheng joined hands, just like the "Swordsman of Xinshu Mountain" back then, with novel technology combined with local steelmaking to create a unique light and shadow technology: on the one hand, "A Chinese Ghost Story" was inspired by the overseas stunt production process, and with the help of "new visual effects", so as to make scenes such as the dryad sucking blood, the resurrection of the dried corpse, and the rescue of beauty in the underworld, especially the protagonist breaking into the ghost gate, fighting with the elusive generals, being bitten by the ghost head that poured out of the nest, and even the soul out of the body, Excalibur kills the enemy, from beginning to end in a bizarre and mysterious display of oriental colors, such a strong visual effect, thanks to the excellent special effects design.

On the other hand, Xu Ke and Cheng Xiaodong also deliberately invented some earth-style stunts for the film, which is especially reflected in the giant tongue of "Grandma": the terrifying tongue that is as aggressive as a monster of the opposite sex is actually a dyed long sponge, and as for its momentum of rolling on the ground, it is made by the staff constantly pulling off-camera and hitting the floor with wooden sticks, but the effect does not make the computer stunts beautiful, but also reflects the superb creativity of the two.

"Speaking of which, Xu Ke should be the director who makes the most special effects movies in Hong Kong, right?" Wang Xianxian said with some sighs.

"Well, yes." Qiao Feng thought for a while and nodded.

From the swordsman of Xinshu Mountain to the best partner of the empress's secret order, to the happy ghost bumping into the ghost, to the Chinese ghost story, to the ironclad invincible Maria, and then to the happy ghost to save the happy ghost, every time Xu Ke can make his film or director or producer present the audience with more exciting and different special effects.

"I originally thought that you were going to shoot Terminator 2 in the United States, and you had to cooperate with Industrial Light & Magic, Xu Ke would definitely invite a few people from Industrial Light & Magic to do special effects.

"Because our company's special effects don't have to be as bad as industrial light and magic at the moment." Qiao Feng smiled very smugly.

Although Chen Jiashang's main business is now a director, he is a veteran of the special effects company after all, and he is the earliest person in charge.

The company's special effects accumulation and the creativity of many films involved in the production have the shadow of Chen Jiashang.

Therefore, Chen Jiashang is the director who knows the most about special effects in Hong Kong, and he also knows how strong and high Qiao Feng's business ability of this special effects company with a lot of capital is.

Since Chen Jiashang said that his special effects company has enough capabilities, it is impossible for Xu Ke to find industrial light and magic that costs a lot of money even if he wants to support his own field.

"Chen Jiashang said that Xu Ke is the best person in Hong Kong who can use special effects." Wang Xuxian said with a smile.

Of course, Chen Jiashang understands the special effects better than Xu Ke, but if you want to say that you can use it, it is good to use it, and it is Xu Ke who can add a lot of color to the movie when you use it." Qiao Feng agrees with this evaluation.

I have to say that Xu Ke is really a genuine technical control.

He's a lot like James Cameron.

Very much like.

Both are whimsical people.

They are all people who can't do it with big brains.

And they are all people who have their own ideas and can shoot their ideas perfectly.

Even, when it comes to actually using special effects technology by himself, Xu Ke is earlier than James Cameron.

As early as 1982, when James Cameron was not famous and did not shoot the Terminator, Tsui Hark ushered in his first special effects blockbuster.

At that time, when Jiahe offered a high cost to invite him to direct a big production, he himself was obsessed with George Lucas's "Star Wars", so he had a new idea: "After watching the stunt film "Star Wars", people have spaceships, death guns, and space has expanded so much, how can we see our own special effects? I want to make our own special effects blockbuster Chinese." ”

However, it is not easy to put the martial arts masterpiece of the owner of Huanzhu Mansion on the screen, because the original work depicts a fantasy swordsman world between humans and gods.

To this end, Xu Ke persuaded Golden Harvest Zou Wenhuai to specially hire some technicians from the "Light and Magic Industry" company who had produced special effects scenes for "Star Wars" to join, and introduced blue screen sets for Hong Kong films for the first time.

In another scene where a lot of Western-style stunts are used, the protagonist confronts the Demon Cult, with the chivalrous Ding being able to fly with a sword at any time and flying with a sword, and the Demon Cult Master being able to cast laser light – in fact, this was also an early attempt at combining computer animation and laser effects in Hong Kong films, which was a big improvement over the "laser" effect created by painting on film in similar Shaw Brothers films.

As for Ding Yin and the main body of Ice Castle Castle riding stone beasts in the air chase, it is an action scene created by combining stunts and Weiya, which has both oriental magic imagination and unique style.

When it comes to lifting Weiya, there is no one who knows more than Hong Kong filmmakers.

In addition, Xu Ke also used editing techniques and even local steelmaking to create special effects in "The Swordsman of Xinshu Mountain", so the knight in the film flew from one end to the other and back again under one shot, thanks to a series of short shots.

And Ding Yin was poisoned after being possessed by the blood demon, and the fairies in the fairy castle flew up in a hurry at the same time due to fright, and it was the effect of many martial artists pulling up hundreds of "Weiya" outside the studio at the same time, it can be said that from that time Xu Ke advocated the "combination of Chinese and Western" special effects techniques for the whole film.

He likes to use local methods to make special effects, even if the special effects artists of Light and Magic can make better computer special effects, but in some aspects, Xu Ke prefers to shoot in a way that Hong Kong filmmakers are familiar with.

Although "The Swordsman of Xinshu Mountain" has caused some stunts to be unscrupulous and unsmooth due to the hasty production cycle, it has not prevented it from becoming a landmark classic.

Because it has improved the special effects of the entire Chinese film industry, and with the help of different screen technologies, it has added sound and color to the Chinese martial arts world, and Xu Ke's mastery of various techniques in the film has brought a qualitative leap to the development of Chinese martial arts films, which has a far-reaching impact.

Later, Qiao Feng opened a special effects company, it can be said that on the one hand, he knows that special effects blockbusters are the trend of the future, and it will be very profitable to make special effects companies.

On the other hand, I am also grateful that Xu Ke, a person who has not been reborn, can work so hard for the development of Chinese films, and watch it so advanced, Qiao Feng feels that he can't be compared to a person who travels through time.

Qiao Feng feels that it is not an exaggeration to say that Xu Ke is the father of special effects in Chinese films.

Because it is he who has promoted the exploration of special effects technology by Chinese filmmakers and promoted the development and progress of special effects in Chinese films.

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