When he came back, Miao Feng snatched the key to the sports car, and there were only Liu Yifei, Liu Fei and Miao Feng in the car, and Tang Yanran and the others were all in the company's car. Pen % fun % Pavilion www.biquge.info

Liu Yifei sat in the co-pilot's seat, and Liu Fei lay in the back seat leisurely, feeling the clear air all the way.

After returning to the company, Liu Fei handed Wang Xiaoshan the MV script and storyboard script of "Father" and asked him to hurry up and shoot.

Thinking that Song Xiaodan hadn't come back for so long, and he hadn't given himself a call, Liu Fei was very worried about her, this was related to his own system task!

Taking out his mobile phone, Liu Fei found her number and dialed it out.

Not long after, after the phone was connected, a sweet voice came from the other party.

"Hello Director Liu!"

"Hello Mr. Song, has the song been recorded?"

"It's been recorded, and my university tutor is choreographing the dance for me, he is proficient in Sanskrit, and he has a deep understanding of these two songs, and with her help, she not only completed the recording of the two songs, but also helped me choreograph a unique dance to match."

"Very good, I was worried about the recording of your songs, but I was relieved to hear that it went well."

"Thank you, Director Liu, at most, I can return to Jinjiang City in a week, and I will surprise you when the time comes."

Song Xiaodan was very moved when she heard that Liu Fei was very worried about the recording of her songs, Liu Fei was really good to herself, even more than all her friends.

"Okay, I'm looking forward to the surprise that Teacher Song will bring me."

After hanging up the phone, Liu Fei was relieved, songs with Sanskrit and culture are not other popular songs, and without a good tutor who is proficient in Sanskrit, it is really troublesome when recording songs, and it is difficult to record the artistic conception of Sanskrit culture.

When thinking of Wulangye's advertising song "Love to the Spring Tide", Liu Fei turned on the computer and began to design the set to be filmed. After designing the set according to the film he had seen in the previous life, Liu Fei made some slight modifications to make the whole set more perfect.

If you want to shoot this film, you have to use green screen or blue screen shooting techniques.

Green screen shooting technology has been a big road commodity in China in later generations, whether it is a domestic movie or TV series, it is very common to use, even ordinary movie lovers are using green screen technology to shoot micro films, and even ordinary people can play green screen technology with a digital camera and a green cloth.

However, it is now 2005, and for the domestic film industry, green screen and blue screen are still high-tech technology, because the use of keying software is not yet mature, which makes it difficult to promote this technology.

The first large-scale application of green screen technology in a domestic film, if Liu Fei remembers correctly, it should be released in December 2004. As for which movie it is, many people may not think of it, that is, it is adapted from Zhao Benfu's novel of the same name, directed by Feng Dagang, starring Liu Dahua, Wang Baoqiang, Liu Lanying and others. The film tells the story of a migrant worker and two thieves, and in the end, the simplicity and kindness of the migrant worker touched the two thieves.

Whether it is a movie or a TV series, in the field of post-production special effects, keying is an important basic technology, everyone knows that keying is generally divided into green background and blue background. Why is there no red screen, or yellow screen?

Before we understand blue and green screens, let's first understand the basics of chromeKeying. In the later software (Keylight), you can select a range of colors (chrome) and brightness (luma) that you want to erase, and then erase this part. Then, place the digital background under this layer and composite it into the effect we want.

Blue and green are contrasting colors of red and yellow, and the main reason for using blue-green is because of the skin. In fact, human skin does not contain any blue and green information. So, you don't have to worry about erasing the color of your skin when using blue-green.

As for why only these two colors are used, the more authoritative theoretical explanation is that the basic structure of motion picture film is composed of three layers: red, green, and blue, and from the root point of view, red, green, and blue are all okay as background colors.

Blue is frequently chosen for several reasons: blue is a complementary color to our skin color, and in most scenes, the hue is similar to the skin tone, so it is logical to choose to use the opposite color and ignore the use of close colors.

Historically, cinema cameras and film have been very sensitive to blue light, but from today's perspective, these ideas are not very precise.

Green has its own advantages. When there is a blue object in the foreground, there is a noticeable adaptability when working on the matte part. Green has a noticeable reflectance during matte painting, which is easier than blue.

At the same time, video cameras are normally more sensitive to the green channel, and the best resolution and picture details are generally in the green channel. Therefore, general science and technology blockbusters, with strong special effects, use green background cloth

The choice of blue screen and green screen is mainly decided based on the objects and costumes in the scene. If your actor is wearing blue jeans, then a green background is fine. So, think about it, have you ever seen an actor with a special effects shot with a green shirt and blue pants? If the scene is large, you can think about what are the "illegal colors" in advance, so that you can consider reducing the appearance of such colors when you set the scene

For later generations of digital cameras, the green color is usually processed as the clearest and brightest in a scene. Therefore, there is usually no need for a very complicated lighting design, and the green color in the captured scene is generally relatively clear, and the noise is easy to deal with.

Since blue is the complementary color of human skin, using a blue screen as a background should be the easiest to key, and many stunt shoots in later generations used more green screens, perhaps because the fluorescent green used in green screens is easier to separate from the foreground in computer systems, and this color is brighter and less prone to black edges.

In Asia, blue screens are generally used, while in Europe, green screens are generally used. The main reason is that most Europeans have blue eyes, and if you use a blue screen, it is easy to cut out the actors' eyes in the later keying.

Most of the stories of "No Thieves in the World" take place on the train, and the shooting period of such a blockbuster takes at least three months.

And "No Thieves in the World" is a commercial blockbuster, which has extremely high requirements for photography and lighting, and it is difficult for these live-action shots to achieve the expected results. There is only one way in front of Feng Dagang, which is to shoot through a green screen and then carry out computer synthesis.

In the end, "There Are No Thieves in the World" is in the north||Ping Xiaotangshan rented a studio of several thousand square meters and built a prop train in the studio. The train is about 40 meters long, divided into four carriages: soft sleeper, hard sleeper, dining car, and hard seat, and most of the scenes of "No Thieves in the World" are completed in these four carriages. After filming, the video is entered into the computer, and the green background is removed by the software, and then replaced with Zaigan||||The real scene shot by Su is synthesized through computer software, and the movie becomes the last thing the audience sees.

If you want to shoot the green screen special effects well, the most difficult thing is the lighting, first of all, you must use light to light up the green screen, the light must be even, and the brightness must be appropriate, otherwise the post-key will not be clean at all. Meantime. It is also necessary to simulate the lighting of the natural environment for the actors, and the light on the actors must be consistent with the background that will be replaced in the future, and the direction of the light must be the same, and the brightness must be consistent, otherwise it will look incongruous.

Studio indoor shooting has high technical requirements for lighting engineers, so in 2005, if you want to play green screen, it is not an easy job, and with Han Qiuying's lighting technology, it cannot meet Liu Fei's requirements at all.

However, now there is Zhang Jizhong's Condor crew, which has very experienced lighting engineers, and Liu Fei is not worried about this problem at all.

Why do you want to talk to Zhang Jizhong Component Film and Television Company? Liu Fei also has his own purpose, first, to strive for a wealth of business points, and second, to let his company members have a place to learn, only by following those masters to continue to learn, the skills of the company members will continue to improve.

The MV commercial for "Love to the Spring Tide Rolls Rolling" wants to be completed by all live shooting, which is simply impossible, because there are romantic shots flying around, and if you replace all these shots, you will lack some fantastic romantic and beautiful shots. Therefore, Liu Fei did not want to replace.

Green screen technology may be a high-tech job in the eyes of others in this era, but it is not worth mentioning in Liu Fei's psychology at all, Liu Fei has played a lot of green screen special effects, for him, green screen technology is simply a matter of hand. As long as the lighting is in place, and you have your own software for the view master, green screen technology is not a problem at all. Even without the need for a view master, Liu Fei is confident that he can complete the keying and compositing of green screen technology.

After making a phone call to Wang Xiaoshan, not long after, Wang Xiaoshan came to the office with a cane.

After Wang Xiaoshan sat down, Liu Fei handed him the script and storyboard script of "Love to the Spring Tide".

After reading it, Wang Xiaoshan felt that he didn't understand the green screen keying technology in the script at all, but he had only heard of it, but he had never seen it at all.

"Brother Fei, I can guarantee that there is nothing wrong with the live shooting of this song MV, but I really haven't played this green screen keying shooting technique. Even if Huaxia Kingdom is so big, so far, there are few people who have really played this difficult technique. But when it comes to this green screen keying technique, the movie "No Thieves in the World" makes good use of this technology. It's just that I haven't seen a green screen shoot in a studio, so it's a bit of a pity. ”

Liu Fei nodded slightly after hearing this, and then took out a pack of Chinese cigarettes and threw it to him.

Ordinary people may want to show themselves and will brag a little about their abilities, but Wang Xiaoshan is very real, if he hasn't played, he hasn't played, and it's not a shame.