The next day.

On a bustling street in the west of Beijing, the crew of "Seventeen-Year-Old Bicycle" gathered here.

Wang Xiaoshuai's film crew is not a grass stage team, after all, he is a director who has won awards at foreign film festivals, and he has gone around in Europe and the United States, and his fame is not small!

If the crew of "Seventeen-Year-Old Bicycle" lists a staff list, there must be more than 30 people including actors!

In this year, this is the size of a big crew.

However, not all people who work on the crew will come to the scene to follow the filming.

For example, the invested Baodao Yoshimitsu Company, as well as the French capital, although they have sent producers and producers, but these are all bigwig-level figures, and people are really just names.

is like Han Sanye, the former deputy director of the mainland's Beijing Film Studio and the current deputy general manager of China Film Group, he also hung the title of producer in the crew of "Seventeen-Year-Old Bicycle", but Wu Yuan never saw this big man who will be at the helm of the Chinese film industry for the next 15 years.

The real busy work on the set is mainly the migrant workers who are engaged in photography, sets, scene notes, recording, lighting, and props.

Plus behind-the-scenes screenwriting, art design, costume design, editing, soundtrack...

These are the people who really do the work of the crew.

"The planned filming period for this drama is 15 days, and there is still plenty of time."

"If it weren't for the fact that the two of you leading actors are newcomers, it would only take seven days to shoot."

Sitting in the director's chair, Wang Xiaoshuai stared at the store of the "Feida Express Company" with the set and props, and chatted with Wu Yuan, who was sitting next to him and curiously observing the monitor.

Movies in this era are shot very quickly, after all, there is no need for any special effects, and there is no need for transitions across the country, and ordinary literary films can be done in a week to half a month.

There are directors on Hong Kong Island who can make a movie in three days!

After all, every extra day of filming costs more film money!

"Yo, you really have a vision." Seeing that Wu Yuan's eyes had been on the monitor in front of him, Wang Xiaoshuai pointed to the monitor with some smugness and introduced, "Haven't you seen it?" ”

"This is the latest IVS system, high-end goods, and now foreigners use this thing for filming."

"In the past few years, domestic crews of some grades have used this thing."

Wu Yuan pursed his lips and did not answer.

Where did he feel novel, he was amazed to see such an ancient device!

What is an IVS system, to put it bluntly, it is actually to connect an optical splitter to the optical viewfinder of the film camera, and then output a video signal, and then connect it to the director's monitor.

This allows the director to see the footage and the actors' performances in real time.

Before this set of equipment, it was really troublesome for directors to make movies, at that time photography was the only person who could see the picture in the shooting, and the picture could not be played back, only photography could decide whether the captured material could pass or not.

The director had to see the washed out sample the next day to know what the effect was yesterday.

It wasn't until the IVS system, commonly known as the "monitor", was born that directors were finally able to see the footage in real time.

However, this thing has been born for more than 20 years, and there has not been much progress.

Even if Wang Xiaoshuai uses the latest model, the picture effect is not very good, and the output video signal resolution is only 480P.

It's enough to see a composition and a rough actor performance, and no matter how detailed the light ratio, light effect, and color can't be seen, you still have to wait for the sample to be washed out to see the real picture effect.

However, with the development of technology, the director can finally play it back at any time on the set, and the monitor has a video recording function, which is quite convenient.

Wu Yuan remembered that it was not until 09 years that there was a "HD-IVS" that output a three-channel 10-bit 1920x1080 digital signal, which was really good.

In the era of digital photography, the director finally saw an almost perfectly restored picture on the on-set high-definition monitor.

And in digital photography, each shot is a separate file, and you can basically look at it however you want, either upside down or upside down.

Some demanding directors can even let the editor cut the film on the shooting site, and you can see the rough cut effect of a scene half an hour after shooting.

When Wu Yuan became the executive director in his dream, he often stared at the scene of the crew to cut the film, and it was often the chief director's sentence that he had to stay up for three nights to do the execution!

Wealthy crews can even do on-site pre-grading, and the director can directly see the picture effect after first-level grading on the monitor.

That is, with a filter!

At this point, the directors finally don't have to wash films, watch sample films, and hold discussion meetings after filming every day.

Wu Yuan, who has rich experience in the era of digital photography, once returned to the film crew of the millennium, which really made him feel special.

Although "Seventeen-Year-Old Bicycle" is not a smooth film, because the film is mainly a story told around two separate lines of the two protagonists.

The lines of Xiaojian and Xiaogui in the movie are parallel but intersecting, and finally reach a climax in a "hot-blooded" juvenile brawl, and also come to an end.

Therefore, when Wang Xiaoshuai was filming, he mainly used Cui Lin and Zhou Xun as a group, and Wu Yuan and Gao Yuanyuan as a group.

The first few days were mainly filmed with Cui Lin and Zhou Xun's group.

One of the two is Xiao Jian, a courier who came to the capital from the countryside to work, and the other is a rural girl Hongqin, who came to the city to work as a nanny for a rich family, but always steals the owner's clothes and wants to disguise herself as a "city person".

Xiaogui, played by Cui Lin, is always in the dilapidated courtyard, peeking through the wall into the floor-to-ceiling windows of the high-rise building next door, dressed as a "flowery" red qin.

And the characters played by Wu Yuan and Gao Yuanyuan are two city people who grew up in the capital.

Literary and artistic films are all about "imagery", "symbols" and values.

In this "Seventeen-Year-Old Bicycle", the bicycle is a special symbol and symbol, through the attitude of Xiao Jian and Xiao Gui towards this bicycle, it reflects the difference between the lives of urban and rural people, the difficulty of rural people integrating into the city, and the difference between urban and rural areas.

The sixth-generation directors are like this, as if they don't shoot some difficult social reality, the tragic fate of the little people in the big era, and the irony of society, the times and the like, they won't make movies.

It's not that Wu Yuan doesn't like or reject this type of movie, it's just that he was not born in the 60s~70s after all, and he experienced that complex and turbulent period of change, and was brainwashed by a large number of European art films.

Especially after 20 years of experiencing dreams, his film concepts and values have long been changed.

In his view of films, he either makes commercial blockbusters that are loved by the public and can bring laughter and excitement, or he makes literary films that can move people's hearts, resonate, and explore more human nature and character stories.

This kind of film that indulges in self-expression, explores the social system, and exports rebellious, cultural, and political concepts, he really can't make it, and he has no interest in making it.

Anyway, there is already a generation of directors who have worked hard in this field, so there is no need for him, a newcomer, to plunge into it anymore.

Huaxia films need such a group of filmmakers to make this kind of film, but they don't need all filmmakers to drill into this field!

He should open up some new roads, new styles, and new genres for Chinese films!

Therefore, during the period of joining the group, although Wu Yuan has been following Wang Xiaoshuai, he is eager to learn the operation mode and knowledge of the film crew in this era.

But all the film concepts and artistic ideas he constantly instilled in Wang Xiaoshuai are all in the left ear and out of the right ear, and he doesn't go to his heart at all.

At the film viewing meeting every night, Wu Yuan mostly sat quietly and listened to the fierce quarrels between the director and the screenwriter, and rarely expressed his opinions.

His attitude made Wang Xiaoshuai feel that this kid was a manufacturable material, who knew how to listen more, watch more and talk less!

Just when Wang Xiaoshuai's favorability towards Wu Yuan was getting higher and higher, and he was about to succeed in his self-strategy, the scenes of Cui Lin and Zhou Xun were almost finished, and the rival scenes involving Wu Yuan had not yet been filmed.

This also means that the scenes of Wu Yuan and Gao Yuanyuan are about to start filming.

Compared with Cui Lin and Zhou Xun, Wu Yuan's group of content to be filmed is more inclined to a youth love story, which is the ambiguous first love between two high school students.

Wu Yuan and Gao Yuanyuan also got their shooting schedules.

It's just that when Wu Yuan saw the specific arrangement of the first scene, he immediately found Wang Xiaoshuai.

"Senior brother, the first scene between me and Sister Yuanyuan is going to shoot a kiss scene?!"

Wu Yuan has heard before that many directors who make literary films like to shoot passion scenes, emotional sublimation scenes, and kiss scenes first, because it can help actors enter the play faster and let actors find their feelings faster.

It's just that he didn't expect this kind of thing to happen to him one day.

Pointing to the script in his hand - "Houhai, Xiaolin ......", Wu Yuan was a little speechless.

"This is the most difficult scene for the two of you, first overcome this difficulty, and then it will be easy." Wang Xiaoshuai said righteously.

"Okay." Wu Yuan smashed his mouth, nodded helplessly and agreed.

Anyway, there is no mouth-to-mouth French kiss in this play, and the only intimate scene is this one.

However, after carefully reading the script, Wu Yuan frowned, a little incomprehensible, and asked: "Senior brother, you didn't write it clearly, do I want to kiss her on the cheek or not?" ”

No wonder Wu Yuan is puzzled, it's really too vague to write this script, just one sentence "Xiao Jian approached Xiaoxiao's cheek nervously and shyly, wanting to kiss her cheek, and the ambiguous atmosphere of the first love of youth lingered beside the two......"

Then as soon as it changed, it became "Xiaogui took the opportunity to steal the bicycle......"

So is this a kiss or not?

Facing Wu Yuan's doubts, Wang Xiaoshuai smiled slightly and slowly spit out two words: "Like a kiss." ”

"Did you kiss or not?"

"Like a kiss!"

"Did you get a real kiss?"

"It's like a kiss!"

Throwing Wu Yuan a "you comprehend it yourself" look, Wang Xiaoshuai left with his hands behind his back.

"It's just annoying this group of literary film directors who love to play with stream of consciousness! What nonsense to talk about every day! Wu Yuan looked at Wang Xiaoshuai's back and complained fiercely in his heart.