Just as in the early days of reform and opening up, when township entrepreneurs first started their businesses, they were proud to wear suits. Pen @ fun @ pavilion wWw. ｂｉｑUｇE。 But ten or eight years later, as the trajectory of history entered the nineties, shoddy cheap suits became the representative characteristics of "peasant entrepreneurs".

Truly successful people are starting to like to wear low-key and restrained clothes. Especially after the rise of the Internet circle, the real bigwigs take Versace's crewneck polo shirt or at least Jobs's denim style as a benchmark.

In the film and television industry, the change in perception of "computer stunts" is basically such a process.

Back then, when there was no computer synthesis CG to use, everyone filmed martial arts special effects obediently hanging Yawei and burying explosives. In addition to flying eaves and walking walls, it is to use blasting to express "splitting empty palms" and "invisible sword qi".

In the late 70s and early 80s, after Lucas and Cameron started playing Star Wars laser swords and Terminator laser weapons, a kind of "just to let the audience see that our special effects are computer CG synthesized, that is, to let the audience see that this thing is not real" proud values began to spread.

Because computer special effects were rare and expensive at that time, even the PS artifact was invented by Lucasfilm in order to shoot "Star Wars". If it is filmed with "no PS traces", it is not a loss? It is necessary to specially let the audience see the PS traces, so that it looks high-tech.

It wasn't until 1994 that Cameron and Schwarzenegger closed the door of this era with "True Lies" again, and then the people of the United States suddenly felt that "peasant entrepreneurs are too dirty in suits", and they repented and began to pursue "using computer special effects CG, but the purpose of CG is to make the film more realistic, not deliberately pursuing more unreal".

Then Hollywood began to return to the basics, and gradually walked back to "The Matrix" and "The Lord of the Rings".

And in Huaxia, which was still relatively poor at that time, when the people of the United States played special laser special effects, the Chinese people could not afford to play.

After "True Lies", the special effects that "are proud of not being true" began to be eliminated in large quantities, causing the prices of those low-end special effects to plummet.

Some directors in China, especially Wanwan, found that the tall and black technology that they couldn't afford to use was so cheap, and they began to introduce a large number of them like the nouveau riche, and they had enough of the addiction that they had no money in the past ten years.

Yuan Xu, who did this in martial arts films, probably had to push it to the part of the special effects that Yang Peipei's studio helped Ren Xianqi's version of "The Condor Heroes" in 98.

Prior to this, Gu Tianle, Li Ruotong's "Condor", and Huang Yuehua's "Heavenly Dragon" were still relatively orthodox;

After that, until "Fengyun", the director and the audience saw a new way of martial arts films:

It turns out that martial arts films can still be filmed like this, and you can also invite pure idol actors who have no martial arts skills at all, and they don't even need martial arts much. After the shooting came out, Ren Xianqi stood there motionless, and saw the laser swirling, and the sword light and sword qi brush brushed the Golden Wheel Dharma King for seconds.

Now, four years have passed since Ren Xianqi's version of "Condor".

In the early years, Chinese directors were due to lack of love, oh, not lack of money, and the CG addiction that they had never had is almost enough.

(It seems that when I was a child, I was afraid of leaving a psychological shadow, and it was easy to overcorrect after I was wide.) It's like the rabbit army was blown up by Van Vliet in Shangganling, and now it is open and has begun to make crazy bombs. And the Mi people have even cut the "Crusader Artillery" project since the Rumsfeld era. ）

With a person as strong as Gu Cheng, he wants to end up in person, and naturally he has to teach domestic directors "what are the back-to-basics special effects values, and how to shorten the consciousness generation gap with Hollywood".

He can't teach the technical details of directing the film, and he doesn't have the ability and qualifications.

However, the three views of art appreciation, with his far-sightedness, are qualified to teach people.

It's time to create real props and then scan them as materials, so you definitely don't rely on PS painting. Even if the art cats P the price of a blackiron heavy sword, it is only one-tenth of the price of building a real dark iron heavy sword.

A real aristocrat, who changes his clothes four times a day, is definitely not a person who can see at a glance that he has changed his clothes.

……

Liu Hui feels that she has grown a lot in the past half a month.

In contrast, the original opinion on special effects films is now similar to that of "township entrepreneurs" in retrospect.

She pushed off the three props companies she had previously worked with, as well as the CG studio.

Industrial Light & Magic and Skywalker Sound look for D2 without taking orders, and even D2 doesn't take orders and find independent studios that jump out of D2.

All in all, no matter what the technology is, the three views must first be more back to the basics than Hollywood, and everything is based on no PS traces.

Gu Cheng didn't know where to find a documentary for Liu Hui to learn. Above is a bearded uncle from the United States, with a few assistants, using a blacksmith shop with a lot of strange machine tools, helping director Peter Jackson make weapons for Aragon and Legolas, and helping Blizzard make "Frost Grief" for the promotion of "Warcraft 3".

All this rigor deeply shocked Liu Hui, so that she changed her method and began to run the local high-end custom metal parts processing factory in person.

It is already the new century, and Huaxia has never lacked skilled craftsmen and processing and manufacturing capabilities. At that time, the total amount of China's physical manufacturing industry had already surpassed that of United States and Germany, but there were insufficient high-end orders, and everyone was reluctant to upgrade technology.

Liu Hui introduced through a friend, found a few processing units that were not originally props factories, and handed over orders for dozens of weapons and props.

Later, when I heard that such a small list was given, the unit price was extremely expensive, and those suppliers were shocked. Hearing that as long as the cooperation is good, it will be possible to make a documentary, and get the same exposure as the top Hollywood prop dealers who serve "The Lord of the Rings" and "Warcraft", and the gang finally got to work with their chests banged.

I may not have done this in China before.

This grind came to the end of September.

Liu Hui prepared all the prop masters, set designers, and props almost, and then went to Gao Dasong's recording studio to report to Gu Cheng.

Gu Cheng himself has been busy recording songs for half a month, preparing the theme song for his TV series.

Starting from "Meteor", Gu Cheng has formed the convention of "all TV series in which my brother participates, and the opening and ending songs are handled by my brother".

"Meteor" from "Meteor" "Love is Necessary" and "Meteor Shower", to "Dark Fragrance" and "Chrysanthemum Terrace" from "Gold Powder". and then to the current "Laughter" and "Hair Like Snow" of "Condor".

This time, Gu Cheng did not copy as usual, but just asked for submission.

"Jianghu Laughter" is a song written by Wanwan for the little insect used by Ren Xianqi's studio.

The song originally made the ending song of Liu Feifei's version of "Condor" in history, and considering that Xiao Worm's last "Condor" theme song "Sad Pacific" created the highest-selling record in Wanwan's history, it was very helpful to take advantage of the situation and hype.

Once Gu Cheng sings, the sales can surpass Ren Xianqi's "Sad Pacific" that year, and it can also create a piece of history, proving that this drama is "the most successful version of the Jinyong drama in history".

"Jianghu Laughter" itself is a good song, but it was sung by people like Huang Xiaomin and Zhang who don't know how to sing in another time and space. Now that it is a professional-level singer like Gu Cheng who sings, there is no need to change.

As for "Hair Like Snow", it was naturally commissioned from Zhou Jielun. Gu Cheng just put forward a request for an emotional tone, and said a few words, explaining that it should be used for the theme of "Yang Guo's eternal love of waiting for sixteen years and one night", and then let Zhou Jielun and Fang Wenshan.

And then it all fell into place.

I don't know if it's because Gu Cheng inadvertently interfered with Zhou Jielun's creative trajectory. Originally, Zhou Jielun's creative style in 02 had not yet taken shape, staying at the level of "Octave Space", and the Chinese-style songs only went to the level of "East Wind Breaking".

And Gu Cheng accidentally used up the invitation to "Chrysanthemum Terrace", and by chance came up with "Orchid Pavilion Preface", as a result, Zhou Jielun's train of thought seemed to become a little closed, Gu Cheng didn't go to the manuscript, and he didn't subconsciously feel that the ancient Chinese style was also a creative style that could be tried.

In order to prevent the songs of "Hair Like Snow" and "Blue and White Porcelain" from being annihilated in this world, Gu Cheng can only make an appointment from time to time and make a move. It's a big deal, and in the end, it is written that Zhou Jielun of Fangwenshan wrote and sang, and Gu Cheng sang it, which is worthy of them.

In addition to the opening and ending songs, Gu Cheng also made some majestic BGMs, which are ready to be used on occasions such as Yang Guo's comprehension of the Xuantie Sword Technique, the Gloomy Ecstasy Palm, or the Battle of Chongyang Palace.

However, that matter was more troublesome, and Liu Hui hadn't done it when he came.

……

"You are like snow and parting, who I touched by burning incense. Invite the bright moon to make memories bright, and love is perfect in the moonlight......"

"Your hair is like snow and tears are flying, and I am waiting for the old man. In the drunken years of red dust, I will engrave a monument to love you forever with no regrets......"

Gu Cheng was in the recording studio, closed the last audio track, and felt that the effect was perfect, so he called it a day.

Liu Hui was in Gao Dasong's workshop, watching Gu Cheng play for a long time through the soundproof glass coated with anti-reflection coating. It wasn't until Gu Cheng left the soundproof zone that she came back to her senses.

She hurriedly complimented: "Gu ...... Mr. Gu, you are really a natural love saint, and I fell into it when I sang. This song is sure to be a hit. ”

"Seriously, what's polite. Gu Cheng wiped his sweat, drank some tea, and said casually.

LIU HUI WAS NERVOUS, BLABLA POURED OUT WORDS WITHOUT PAUSE: "THE MAIN PROPS YOU ARRANGED, THEY ARE FINALLY READY, DO YOU WANT TO TAKE A LOOK AT THEM YOURSELF? OTHER SECONDARY PROPS WILL ALSO BE IN PLACE IN BATCHES, AND YOU WILL DEFINITELY NOT MISS THE TIME." The plasma silicone man has made a few proofs, and the rest can be inverted, and when the time comes, use as much as you want, and it will ...... very soon."

"Say it slowly, say it all the way. Gu Cheng patted Liu Hui on the shoulder and signaled her not to worry, "Let's take a look at the most important props first." ”

Liu Hui pursed her lips: "That...... Go to the lounge outside and see, that imitation 'Xuantie heavy sword' weighs seventy or eighty pounds. I also made an ordinary elastic shipbuilding steel with an iridium tungsten alloy inside, a little lighter, thirty pounds. ”

Gu Cheng nodded, motioned for Liu Hui to lead the way, and then soon saw the props he wanted in the lounge.

Gu Cheng picked it up and tried it, and he was able to lift it a few times with a handful of parallel goods of more than 30 catties. The eighty-pound one can only carry the hilt of the sword, and it is difficult to even stretch out the arm.

This is still the result of Gu Cheng's good physical fitness, he has practiced dance for two years, and now he still insists on fitness.

Just imagine the feeling of carrying a large bucket of water in one hand and having to wring it out on its side.

When I was really shooting, some of the fierce fighting scenes still had to be made up with green lacquered wood props with the exact same shape and built-in motion capture sensors, and then the model material P of the sword was returned to the post-CG stage.

Of course, many people are accustomed to thinking that an important feature of using "computer-generated CG" is to cover the background or the part to be removed with a green screen, which is actually a misunderstanding.

The reason why many dramas use a green screen is just because there are the least things with this color in the background of the actual scene, so after covering the green screen, the workload can be reduced when the "PS" cutout in the later stage. And if a scene is filmed in the background of the "elven race" atmosphere of the grassland and jungle, maybe it will have to be changed to a "yellow screen" or "blue screen" according to local conditions.

After Gu Cheng tried the sword, Liu Hui breathed a sigh of relief, thinking that he was finished.

Who knows, Gu Cheng once again broke through her imagination.

"Sister Hui, since everything has come out, I will ask the prop master and the audio track master to work overtime in advance in the past few days to match the sound effects of this sword. When the time comes, stick it in and use it. ”

Liu Hui was pitifully dazed for a while: "Sound effects, what sound effects do you have to make for a sword?"

"The sound effect when I swing it, and the sound effect of the blow -- when I shoot, I have a prop sword in my hand, and how can I have such a strong sense of blow when I cut it at the end? ”

Gu Cheng mysteriously pointed to the corner of the lounge, where there was a piece of equipment that he had bought from Germany in an urgent hurry a while ago. It is specially stored in Gao Dasong's recording studio to facilitate local recording.

As soon as the dust-proof curtain was opened, Liu Hui saw a flexible robotic arm underneath.

"I can't wield an eighty-pound sword, this mechanical arm can be very easy, and through PLC action programming, I can complete the simple moves of 'Xuantie Sword Technique'.

The whirring sound of the real heavy sword when it is wielded, I don't want to use other synthesized ones, and I don't want the 'BIUBIU' sound in Hong Kong films, I want to record it in real time. The sound of the heavy sword slashing on metal armor, the sound of slashing on wooden pillars, the bricks of the city wall, and even the sound of slashing on human flesh were all recorded by me. If there was no flesh to chop up, it was recorded with a dead pig wrapped in armor or a silicone dummy. ”

Liu Hui quietly watched Gu Cheng pretending to be forced, secretly ashamed in her heart.

I didn't expect to meet such a director who strives for perfection when filming in China.

It's not that other directors don't want to keep improving, the key is that they don't have money.

It was only when she was in the directing department of the film school that she heard the professors mention such cases in a legendary tone.

For example, when Lucas was filming "Star Wars", he insisted on trying hundreds of metal friction sounds himself, and finally made the armor sonorous sound of the "Jedi" running around, and then pulled a separate audio track for such an inconspicuous background sound, and finally synthesized it back.

And the sound company that made "Star Wars" for Lucas was the Skywalker sound effect that later ranked first in the world in the circle.

One sword, one layer.

One sword, one track.

That's what professionalism is all about!