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Text Chapter 3649 Lighting and Special Effects

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    Since this was going to be filmed in the Huaxia Hi-tech Building, Cheng Long and his small house stayed here temporarily for a few days to think about how to use the Huaxia Hi-Tech Building to shoot movies.  ¡÷¡éFirst of all, there must be something like a flying squirrel suit that flies into the building. In addition, the small house will have to crawl on the glass curtain wall of the building in the future. In short, this is a fancy thing.  Lots and lots of them!  However, after thinking about this, Jia Hongjian did not follow Cheng Long's habit of calling it a day or preparing to start filming. He still had to find someone else to confirm some things.  Who are you looking for?  Lighting engineers and special effects artists!  In this day and age, according to the latest popular habits in Hollywood, lighting engineers and special effects artists must be involved in the pre-preparation of a movie, so that people can know from the very beginning what shots in the movie require special effects, and then they can  You¡¯re ready!

    It goes without saying that the special effects artist prepares, but what does the lighting engineer prepare?  In fact, the lighting engineer plays a huge role!  To put it simply, in a science fiction scene or a scene made entirely by CG, the reflection of the materials on the monster, robot, etc. can be adjusted through the computer, but what about the characters?  Such an image of a character was filmed in a real scene!  At this time, the adjustments that can be made later cannot be adjusted at will like the fully produced virtual CG. There must be a limit and scope for adjustment!  For example, why are many special effects from the 1980s and 1990s so obvious that they are fake at a glance?  The main reason is that the main use of "paper special effects" in that era was to "cut out" and "paste" the characters on one film onto another film - of course, in fact, the special effects in such an ancient era were not shot this way.  Yes, that era was actually about playing with prisms.

    How to use prism?  In fact, it means that the shot is divided into close shot and long shot. The close shot may be an environment shot in the studio, and the long shot may be a very large background picture on the other side of the studio.  In this way, by placing a prism in front of the lens and adjusting it to the appropriate position, the close-up and distant views can enter the camera lens together.  That is tantamount to "synthesis".  However, because the lighting conditions of the background photo and the real person taken in the studio are never exactly the same, so after being synthesized in this way, the characters in the close-up view may appear a little brighter or darker than they should be.  It's easy for people to see the problem.  But these are still foreign technologies. In the early days in China, we actually didn¡¯t even know how to key out and shoot with this kind of prism!  In the 1980s, a batch of American machines were imported, and then it became possible!

    At that time, few people in China had heard of blue screen matting.  Never seen it.  CCTV imported an ADO stunt machine from the United States, and the crew of "Journey to the West" used it to test shoot the scene in "The Kingdom of Demons" in which the Monkey King turns into a little monkey and jumps on the table to have a secret conversation with the prince.  Take a picture of a six-year-old boy jumping in front of a blue screen, and then combine it with the previously shot background.  Just use the ado machine to shrink Sun Wukong, lift it up according to the rhythm of the movements, and get on the table. This is really not difficult.  But later the crew discovered that all the people were like pieces of paper, not three-dimensional and did not dare to rotate at all.  What's going on?  There are several scenes in "The Plan to Harvest Zhu Bajie" and "Three Strikes of Bone Demons" that are particularly obvious.  The crew tried repeatedly but could not find a solution. Later they found out that the three-dimensional effect could not be achieved because they had not purchased a piece of software, which cost $50,000.  There was no time or money to make amends, so many scenes in "Journey to the West" were made of paper figures.

    ??The most taboo color conflict in blue screen cutout is that I only found out this truth after taking pictures.  But the people in "Journey to the West" wear colorful clothes, so the background curtains can only be made in various colors.  For replacement selection.  Sometimes the colors are too complex and need to be combined multiple times.  For example, in the last episode, the scene where the old turtle carries the master and his apprentice across the Tongtian River was composited by the four people separately.  The synthesis work must be completed back in the studio and cannot be seen on site.  This kind of efficiency is extremely low, and we don¡¯t know how the shooting effect will be, so many special effects lenses are useless, and even if they are barely usable, they still have various flaws.  There are even many scenes of flying on the clouds in Journey to the West.  At that time, the crew did not have specialized aerial photography equipment. The sky and cloud backgrounds were all taken after consultation with the captain during the flight and the cameraman was shot in the cockpit.  In addition, when taking various means of transportation such as cars, trains, and cable cars, pay attention to taking pictures of various backgrounds.

    Then Jia Hongjian still remembers reading an interview with a staff member of the CCTV Journey to the West crew. It said that it was not easy to do special effects in the early years - once the characters and backgrounds were in place, it seemed that they could "adopt"  "Is the stunt machine synthesized into a perfect picture? But the problem is far from over. There is a lot of knowledge involved.  First of all, the characters should absolutely avoid having the same color as the background curtain.  Otherwise, there will be holes in the screen, exposing the background.  They originally thought that as long as they had a blue screen, all problems could be solved, but it didn't work! Any color on the actor who was "keyed out" would be?Taboos and backgrounds are the same.  They made many curtains of various colors, because many of the costumes have already been made, so it is a troublesome issue to avoid that color. The characters in "Journey to the West" are all colorful, and different clothes require different colors.  The curtain, including the color on the face.

    When making clothing in the future, the first thing to consider is whether it will be used for "keying".  If so, avoid that color If there are multiple characters appearing in one picture, the colors of their costumes must be different, so it cannot be done in front of one curtain, and the only way is to combine it multiple times.  When taking images of people in front of the curtain, you must also pay attention to the absolute smoothness of the clothes and no wrinkles. Otherwise, those wrinkles cannot be removed during "keying", and traces will appear In terms of light effects  , when taking pictures of people in "cut out" images, try to use smooth light and add outlines. The more even the light is, the better.  When combining the characters and the background, the angles must be completely consistent. If the background is at a depressed angle, the characters should also be at a depressed angle.  Sometimes it's impossible to achieve perfect consistency because the size of the curtain limits the angles of the characters.  But this problem is not too big, because of the size of the characters, it can be solved on the stunt stage! All these problems were gradually discovered during their work, and they gradually found ways to solve the problems, so they also had many lessons from failures.  Of course, all these problems are no longer problems now, but at that time they were indeed hit one by one.

    And when such stuff has evolved to the production of computer special effects, the lighting engineer has made a mask to shoot the close-up shot, and then the distant view produced by the computer can design the light according to the lighting point of the close-up shot, so that the light of the overall distant view is also  It¡¯s almost like a close-up shot!  Isn¡¯t it easy to see this?  For example, when the industry is doing special effects now, it is also necessary to collect the position of the real light produced by the lighting engineer during the shooting, so that it can be produced more easily!  So now Jia Hongjian and the others have asked the lighting engineer and special effects artist to join in the preliminary preparations.  It's just to speed up the overall production process, and also to avoid unnecessary trouble - because we are not doing special effects, many times the ideas we come up with may turn out to be very unsightly special effects!

    For example, we have to make the scene a rainy night scene on a night without rain, and then we think about it and put the lens on the beach or something, so that the water surface of the beach can reflect neon lights or something.  , if all these have to be done by post-production special effects.  It would be very difficult to do it, because it involves weak light and weak reflection In short, it will give the special effects artist a headache!  So now when we think about the action, we have to say hello to the special effects artist and ask them to come over and have a look and discuss whether there is anything particularly difficult to create in the action we designed, right?

    And on the other hand, how much money you plan to spend on special effects also depends on the advice of the lighting engineer and special effects artist.  Because some places are really designed to save money. For example, in a movie like "Pacific Rim" where robots beat up little monsters, why are many scenes at night?  Because there are relatively few things that need to be rendered at night, you can save special effects production costs!  The crew definitely put many scenes at night to save money!  Doesn't the overall darkness save computer memory during rendering?  Anyone who plays games should understand this!  And the monster never saw clearly.  Can't see clearly!  No details!  No close up view!  There is no sense of realism or fear. No matter what technology is used to change whose lives, how those CG technology fans squirt nb, during the underwater battle, the monster's own mother really can't tell who is the three plastic blocks swimming back and forth.  Who is it?

    Of course, if you save money on the dark night, the funds may be used in various other aspects of the night scene - for example, Jia Hongjian feels that the effect of the night scene and the sea water is indeed very beautiful. It is difficult to explain how awesome it is.  .  But it probably cost a lot of money, but I don¡¯t know if it was worth the money.  This sounds a bit convoluted.  On the one hand, they say that night scenes save money, and on the other hand, they spend money on night scenes So in the end, I can only say that maybe the creator wanted to save money, but after saving money, he felt that it was unacceptable not to provide some conscientious special effects!  But what fascinates Jia Hongjian the most is the mechanical and metallic feel, which even makes him feel that there is nothing wrong with "Pacific Rim" and the "Transformers" series.

    The design of this Pacific Rim mecha is very excellent. From draft to CGI rendering, the cockpit, operating parts, weapons, power equipment, painting and other details are all very well done.  It feels like Gundam and EVA have finally materialized.  Moreover, various styles have been designed according to different countries. They are full of international style. Crimson Storm and Gipsydanger are particularly protagonist-style, especially the Crimson Storm of the Celestial Dynasty. Such a majestic mecha steals the spotlight.  The appearance was immediately rejected The 3D movies produced by Industrial Light and Magic are several times more realistic than Japanese 2D animations. Unfortunately, the method of exiting the cabin, being hoisted by a helicopter, is really awkward. Look at Gundam and EVA  How do you get out of the cabin!  Orbital ejection exploded, okay?  It is said that the original design of the mecha weighed 7000-8000.? It was later reduced by 70%. Based on its height and body shape, is this weight just for the convenience of hanging?  The biggest benefit of the helicopter's appearance is the lighting. When the lights are black and the lights are on the turbulent sea, the meaning of the fateful showdown comes out, and even the sacrifice seems particularly tragic.  (To be continued, please search Piaotian Literature. The novels will be better and updated faster!
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