The night before the war began, Jack went to ask Ava, the god of Pandora, for help.

From this point of view, he is indeed becoming more and more like an authentic Nawi.

However, unlike other Avatars, because of his work experience in the scientific research team, he can better understand Ava from a scientific point of view, knowing that this is an existence similar to Pandora's mastermind. He hoped that Ava would be able to read the memories of Grace who had died in her arms, and how badly these earthlings had done to their home planet, and he hoped that Ava would learn this and help them resist them.

But Ava didn't respond.

Perhaps, as Natalie said, Ava does not take sides, the so-called earthlings and Nawei people are the same in its eyes. Perhaps, the mastermind of such a planet named "Ava" does not have a subjective consciousness of its own, as Jack guessed.

But whether Ava responds to Jack or not, the war has finally begun.

……

Comprehensive and solid cinematic technology, as well as a masterful film score.

This is Song Mingyang's biggest feeling when watching this decisive battle.

When the human troops were assembled and ready to leave, one after another fighter planes took off from the base, and the scene was very spectacular - this was a scene noticed by the general audience, and Song Mingyang noticed more things.

He noticed that the fighter plane, which was the main engine of the human army, was the largest in size, and at the same time, the main engine was dull black throughout, and the plane was full of weapons, giving people the overall feeling of being a hideous and terrifying beast. Coupled with the frontal shot of the main engine coming head-on around the fighters, like a mountain pressing over, coupled with a large number of black and gray tones, the overall feeling is very oppressive and uncomfortable.

It's the prop design, the colors, and the lens aspect.

In terms of soundtrack, the background music at the moment is short, tense, intense and depressing, which makes people unconsciously feel a dark feeling after listening to it.

Later, when the camera shifts to the assembly scene on the Navi side, the soundtrack shifts to a new bar, becoming melodious, soothing, and majestic. In the camera frame, the blue sky, white clouds, emerald green floating mountains, the soft blue Icarans and the Nawei people who are also blue-skinned, the whole picture suddenly brightens and brightens.

There are two factions on the positive side, there is no need for a word, and there is no need for the previous plot, just these two scenes can be distinguished at once.

The most important thing is that the connection between these two very different film languages is very smooth and natural, without a sense of abruptness, which is very exquisite about the director's technique.

In addition, the film industry is not an independent industry, and it is not something that directors can play alone, and here, the film score of "Avatar" plays a more important role.

The soundtrack created by this film soundtrack is extremely good and majestic, and the flow between two semantically different soundtracks is very natural and smooth.

This is definitely a masterful film score.

This is exactly the reason why Song Mingyang made this speculation, and next, he felt this more deeply.

……

After each of the two sides gave the appearance shots, the scene continued to deepen, returning to the side of the Earth mercenary army. The soundtrack, after the majestic light and melodiousness of the previous one, also fades at the end, and then turns into the tense and oppressive dark atmosphere of the new bars.

In this background music, the audience saw that a large number of ground troops had also entered the forest and were slowly advancing, in conjunction with the air forces. In the dark, sparse jungle, most of the troops are in shadow, which makes the tone of the whole picture look dark.

At the same time, the flying troops in the sky are also the main color of darkness - although they fly in the sky, there are floating mountains everywhere around, and the planes that the camera shoots in the past are all in the shadow of the floating mountains.

After filming both the air and ground forces, the camera did not give Jack a lot of depictions and shots as he did just now, but only gave Jack a brief shot of them waiting for an ambush, and then returned to the human ground forces.

In this process, the tense and depressing film score can't last long, and gradually fades, leaving only a little suspenseful silk implicated. It was also at this time that the human forces advancing on the ground spotted the Na'vi forces that were rapidly approaching in the distance through thermal induction.

The movie soundtrack of Xiaoshi, which only has a little suspense left, naturally enters the next paragraph, suddenly rising, heavy and majestic and excited, but unlike the previous positive soundtrack, this time the soundtrack is a little more tense. And at this time, the camera was finally willing to shift, and suddenly jumped into the distance.

I saw that in the forest, countless Avatar warriors were galloping on war horses. However, although they are also in the forest, the woods here are relatively sparse, and there is a lot of sunlight shining down from the front, and the whole picture feels bright, different from the dark tones of the previous human ground forces.

At the same time, the Icaran knights also launched an attack from the sky, and a large number of Na'vi people came on the Icaran and rushed towards the human warplane.

……

It's not too difficult to think of such a way of processing shots, but the difficult thing is how to deal with the two sides in the same battlefield in two ways, without making people feel separated and abrupt.

At this point, Shen Huan handled it very well in terms of space and angle, reflecting his extremely profound lens design skills and ability to understand the movie.

Of course, the movie soundtrack cannot be ignored, which is also another point that Song Mingyang feels deeply.

Here, the protagonist of the film is no longer Jack, but the soundtrack.

In the majestic and intense soundtrack, the Icaran knights, who were in a good position to ambush, took the lead at first, destroying several warplanes, and the knights of War Horse also achieved a little success.

But after the most majestic point, the soundtrack goes down, the intensity is still the same, and the majesty gradually ceases. At the same time, the human ground forces stabilized their positions with the firepower advantage of modern thermal weapons, and a large number of horse knights were killed and the situation of charging was suppressed, and on the sky battlefield, Colonel Gerod quickly ordered to disperse the formation, giving the fighters' weapons a space to be used, and also making the ambush advantage of the Icaran knights gradually lose and be gradually suppressed.

The soundtrack continues to go down, with a brief slight upswing in the middle of Chuti's attack on Colonel Gerod. But just like the autumn rains, there will be a brief rise in temperature for a day or two, followed by a deeper cold, and the same is true here.

At the end of this short and small upswing, Chuti, who is like a hero under the background of the soundtrack, is hit and can only choose to flee for his life, and the soundtrack uses this paragraph to naturally pull deeper and weaken the intensity in this ending.

The soundtrack continues to go down, and the shot part is given to Natalie in a dotted way.

After the initial sneak attack, she was being pursued by human fighters, and in the process of pursuit, she was shot down by a human mecha on the ground, and her Ikaran died.

Following this shot, and having the time to stretch out this shot, the soundtrack finally went to its lowest point, and pulled and spread on this lowest emotion.

The soundtrack is stretched to its longest, the proportion of the bass trombone and cello is greatly increased, the vocals are mournful, and the drums are heavy......

It's like a sad song of the end of the world.

In the soundtrack, in slow motion, Natalie is deeply surrounded, Sutai is hit and falls like a straw from the air, and Chuti's fighter plane explodes......

The emotions of the audience were directed to the lowest point.

And Chen Wanxian, a sensual creature, even saw Su Tai rushing into the fighter plane in slow motion, with more than one enemy, when she heard Su Tai's wild roar full of anger, and when she heard the human voice that sounded at the right time, when she saw Su Tai finally being hit and falling off the fighter plane and falling down like straw in slow motion, her nose was sour and her eyes were red.

It made her wonder.

She felt that her feelings for the role of Su Tai were not so deep, but for some reason she couldn't help but feel very sad and wanted to cry.

Song Mingyang knows that this is entirely the role of technology, and it is the result of the perfect integration and interweaving of plot, shots, and soundtracks. Among them, the role of the soundtrack is crucial.

Just like he thought, here, the soundtrack, which is easily overlooked by the audience, is the real protagonist of this movie.

Of course, it is more important to control the soundtrack, to design the shots, and to perfectly integrate all the elements, so that it is even more important to achieve this kind of comprehensive directing ability that can affect emotions purely with technology.

It's a masterful soundtrack.

This is a master's comprehensive directing ability.