Original Title: Beneficial Exploration of the International Expression of Chinese Stories
In recent years, Chinese film creations can be described as diverse in subject matter, with different types of masterpieces such as love, sci-fi, action, and war emerging, constantly expanding into the depth of art and thought. In this context, domestic blockbusters such as "Heroes of Fire", "Captain China", "Wandering Earth" and "Sky · Fire" continue to emerge, making up for the unsatisfactory performance of disaster films, making people shine. In particular, "Fire of Heaven", which was recently released, tested the theme of the volcanic eruption for the first time. With shocking visual effects and sincere emotions, it inspired the audience about "the relationship between man and nature", "saving people and self-saving", "Chinese-style father and daughter" The discussions on topics such as "relationships" have aroused public opinion on the status quo of the development of the Chinese film industry.
Disaster-type films focus on how people respond to extreme conditions such as earthquakes, floods, and fires. Excellent disaster films can not only create impactful audio-visual effects, but also stimulate strong emotional resonance of the audience and guide positive thinking from all walks of life. To complete such a video work, coordination and cooperation in many aspects, such as scientific production process, mature shooting technology, huge investment volume, and professional shooting team, are often required. To some extent, disaster films are a touchstone to test the level of film industrialization in a country. "2012", "The Day After Tomorrow", "Interstellar Crossing ..." When it comes to disaster films, the classics that are familiar to people basically come from abroad. For a long time, European and American countries have occupied the protagonist position of disaster movie production in the world film market, both in story content and production level, far surpassing other countries. However, the emergence of "Sky · Fire" has explored a new creative direction for the Chinese film industry, and has given people hope for the rise of domestic disasters.
Thanks to the efforts of the “Sky and Fire” team, we saw landslides and rifts during the volcanic eruption, boiling tumbling when the magma flowed, the sky covering up when the volcanic ash hit, and flying stones like smashing stars. Unprepared for people, the beautiful dream of static electricity on lava, people's "speed and passion" when they escape from the car ... The immersive and subtle sense of audio in "Sky · Fire" is direct, wave after wave Under the spectacle, the viewer can feel the thrill of escape from the extreme. From the large panorama to the close view, showing the eruption of volcanoes at different stages, different degrees and different orders of magnitude, this "villain character" is three-dimensionally and extremely portrayed. To achieve this audiovisual effect, the team visited many geologists to find a reasonable basis for the scene. The shooting and post-production of "Sky Fire" took two years, with nearly 2,000 filmmakers involved. Among more than 2,000 shots, visual effects accounted for 80% ... In order to present the real disaster scene, the crew was shooting It consumed 500 kg of explosives and purchased 20 tons of volcanic ash.
The exploration of the disaster film in "Sky · Fire" did not stop at the superficial level focusing solely on the audiovisual effect, but instead integrated the strong "heavy industry" atmosphere with the Chinese-style emotional expression. Although the film is attended by many foreign filmmakers, the creative director is still the Chinese. For example, in the shooting of emotional dramas, the director highly respects the Chinese side's opinions, and the setting of characters and the construction of the emotional relationship of the characters, including lines, are mainly controlled by the Chinese side. The screenplay was co-created by American screenwriters and Chinese screenwriters. The American screenwriters gave the script framework, and the Chinese screenwriters transformed it locally and added more Chinese elements. So we saw in the film the implicit gap between Li Wentao and Li Xiaomeng, "you want me to be safe, what I want is a sense of security," and the sincere enthusiasm at which the critical moments can sacrifice their lives for each other. This is an in-depth cooperation between the Chinese film industry that has shown great influence in the global film market and international filmmakers with extensive experience. In the course of this attempt, we developed a new understanding of how Chinese stories can be expressed internationally. If the Chinese film industry wants to form a complete industrial system, it must produce more competitive and disseminating high-concept movies. It can be said that "Sky Fire", as a domestic disaster film with a background in global commercial production, has made a useful attempt to improve the standard of the Chinese film industry.
Editor-in-chief: Wang Diantong
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