svetikya Chapter 660
Chapter 660
The old man was standing on the ground, and the old man was standing on the ground.
Half an hour later…
Accompanied by the guards, Su Mo and Wang Xiaoyan came to the Oriental Film and Television Base together.
After entering the gate of the base, a sense of shock and novelty came over me.
The first thing that came into view was the huge city ruins.
Some of the tall and dilapidated buildings were tilted, and some had collapsed halfway.
The walls were full of mottled marks and full of marks eroded by wind and frost.
The huge metal frame twisted and stretched to the sky, as if telling the past glory and the vicissitudes of today.
The abandoned vehicles and mechanical wreckage piled up on the streets gave people a sense of silence and desolation like the end of the world.
At this time…
Wang Xiaoyan, who was following Su Mo, immediately introduced him with a smile:
“Mo Mo, this is the shooting point in Area A.”
“According to the drawings you gave, the exterior scenes of “The Wandering Earth” have been restored 100%.”
Hearing this, Su Mo looked around and nodded with satisfaction.
This desolate and dilapidated scene met his requirements.
If a few snow machines were pulled up, the extremely cold exterior scenes of “The Wandering Earth” with ice and snow could be perfectly restored.
After visiting the exterior shooting points, Wang Xiaoyan led Su Mo and the guards to several huge factory buildings not far away.
As they walked, Wang Xiaoyan introduced carefully:
“Momo, the one on the left is Studio 2, which is used to shoot the space capsule scenes.”
“The one on the right is Studio 3, which is used to shoot the exterior of the carrier vehicle.”
“The one behind is Studio 4, which is used to shoot the space engine.”
“The one on the north is Studio 5, which is used to shoot the wonders of the snowy winter.”
“The one on the south is Studio 6, which is used to shoot the underground city scenes.”
“…………”
At this time, Wang Xiaoyan was like a professional tour guide.
Walking in front, she kept giving Su Mo a detailed introduction.
Of course, as a director and screenwriter, Su Mo could recognize many scenes at a glance.
But in order to smoothly shoot “The Wandering Earth” later, Su Mo still carefully checked the construction effect of the film and television base.
After a circle, everyone came to Studio 4.
The first thing that caught their eyes was a planetary engine model made of heavy steel.
Its surface is covered with complex pipes and lines, and the huge flame jet seems to be able to swallow the entire sky!
Those huge screws and rivets give people an extremely solid and powerful feeling.
The bottom of the planetary engine is a huge base, surrounded by various control devices and instruments.
Not far from the engine is a scene simulating space.
Above the black curtain, there are countless twinkling stars.
Looking up, it seems as if you are in the vast universe.
There are also some peculiarly shaped spacecraft models, which are suspended in the air by steel cables from a large crane.
The lights are reflected on their surfaces, making them particularly mysterious.
Looking around the planetary engine model in the studio, Su Mo’s eyes flickered.
He walked forward slowly, stretched out his hand and gently touched the cold steel surface.
Quietly feel the heavy sense of history, the wonderful experience of interweaving with the sense of the future.
“Sister Xiaoyan, you are such a great supervisor!”
“This planetary engine model has exceeded my expectations.”
After hearing Su Mo’s praise, Wang Xiaoyan felt a sense of accomplishment.
She was so happy that she stroked her hair and said with a smile: “This is the task you assigned to me, Mo Mo. How dare I disappoint you?”
After that, Wang Xiaoyan smiled and took Su Mo to the No. 2 studio.
As soon as he stepped into the room, Su Mo seemed to have traveled to another world.
In front of him was a huge space station model, which almost occupied the entire studio.
Not only was the appearance rich and realistic, but even the internal structure was clearly visible.
At this time, Wang Xiaoyan said with a little pride:
“Momo.”
“Every detail of this space station is designed according to the standard of the International Space Station at 1:1.”
“In order to restore the true accuracy of the equipment layout to the greatest extent, I also specially invited two aerospace experts to come as consultants.”
After hearing Wang Xiaoyan’s words, Su Mo smiled and nodded to show his satisfaction.
Walking in this carefully crafted cabin, every time you open a door, it seems like a complete
New exploration.
Although these are all simulation models, from the command center to the living area, and then to the scientific research laboratory, every corner exudes a strong scientific and technological atmosphere.
As the two walked and talked, they unknowingly inspected the No. 2, No. 3, No. 4, and No. 5 film studios.
In the last No. 6 film studio, Su Mo saw the scene of the simulated underground city.
The dim lights and crowded living space all create an atmosphere full of depression and hope.
Standing here, it is as if you are in the underground world where despair and hope are intertwined, reflecting the complexity and warmth of human nature.
After a careful inspection, Su Mo was very satisfied with this film and television base tailored for her by Wang Xiaoyan from inside to outside.
Especially the space station and those simulation models, even Su Mo, a professional scientific researcher, could not find too much fault.
In the previous life, the reason why “The Wandering Earth” was so well received after it was broadcast became the ceiling of Longguo’s science fiction movies.
The reason is that many actors are veteran actors with superb acting skills, without the involvement of traffic stars and young actors.
On the other hand, the most critical thing is that the crew at that time was willing to invest a lot of money and spent a huge amount of money to build real scenes for shooting.
The reason for doing so is not that the texture of the green screen effect in the later stage is too poor.
After all, in today’s highly developed special effects technology, the difference between post-production special effects and real-scene shooting is almost difficult for the audience to distinguish.
So why do many conscientious crews and directors still insist on using expensive real-scene shooting?
That’s because when the actors perform in the real scene and when they perform in the green screen, the state and feeling are completely different.
Even for the best actors, the difference between ‘real feelings’ and ‘imaginary feelings’ is very large.
For example, when an actor is riding a horse, if he is riding a real horse, he doesn’t need to perform deliberately, because he is riding a horse.
But if he is riding a prop horse, he needs to perform the feeling of riding a horse separately.
To put it more simply…
If someone is asked to perform a passionate sex scene in front of a photographer’s camera.
If you don’t have enough skills, it’s really hard to perform that feeling without physical objects.
But if someone is asked to perform in front of a delicate beauty, then any man on the street can perform vividly.
And don’t even mention whether you get paid or not, you’re willing to act even if you’re paid.
If you go straight to acting in a Japanese movie, it’s like punching Shimizu and kicking Kato.
Therefore, the feeling presented to the audience by actors performing in real scenes and performing in front of a green screen is definitely different.
For this reason, in the upcoming “The Wandering Earth”, for many shots.
As long as Su Mo can use real-life shooting, he will resolutely not use a green screen.
The purpose is to allow the actors to show the most realistic feeling, thereby bringing a visual feast and spiritual shock to the audience.