Liu Qingshan decided to bring them together just to give Ajie a chance to leave the country.
"My Microphone" has two performances by him, one is a duet with Jin Xishan, and the other is the song "Chasing Dreams" with the Chessboard Band.
In fact, he also has another purpose, which is to let the program team take the initiative to invite Ajie to be a resident guest, which will be of great help to his future career.
It's just that it's hard to express this goal yourself, because Ajie is still a newcomer in the mainland, and if he relies on connections to squeeze out other singers, he will be squeezed out by other entertainment companies.
The two people met again, and it goes without saying that they were intimate and passionate.
The next day, Liu Qingshan went to the crew alone. Jin Xishan, who had been working hard until dawn, needed time to rest, so the specific time for the visit was set in the afternoon.
The filming of "Kung Fu" was extremely smooth, because Liu Qingshan had a complete set of film materials in his mind and knew how to guide Zhou Xingchi's shooting focus.
He can often tell the music that needs to be configured for each plot, and the scenes he describes are as if Zhou Xingchi had seen them himself.
Moreover, many details of the action scenes depicted by him do not even require special processing of special effects, and can be replaced by stand-ins.
In this way, not only the investment cost is greatly reduced, but the filming progress is also surprisingly fast.
This unexpected surprise not only made Zhou Xingchi extremely happy, but also Yang Wancheng and Han Shanping, who came to visit the class from time to time, were extremely happy.
None of the three of them has participated in the production of countless films, so they know very well that having Liu Qingshan in the crew is definitely a blessing in getting twice the result with half the effort.
Therefore, they almost always responded to this person's requests, because after listening to his suggestions, whether it was plot or action scenes, he could decide in advance whether to use blue screen or green screen for the parts that required CG special effects.
This is because most digital cameras with Bayer sensors capture more information on the green channel, which results in cleaner detail around the edges of the subject with less noise and artifacts.
Green screens require less light than blue screens and are more budget-friendly.
A brighter green screen also allows the subject to blend better into the daytime scene, giving the composite a more natural look.
Many digital keying tools are already set up for green keying, allowing you to get the job done without too much tweaking, which can speed up your post-production workflow.
But green screens also have their drawbacks, which is color bleeding. Because green is brighter than blue, more light will naturally be reflected back, and this reflected light will have a green tint.
This means there will be more color bleeding on the object, which can be tricky to eliminate during post-production, especially when dealing with meshes, metallic reflections, or complex patterns.
In addition, if the background you need to synthesize is at night or a dark scene, then a green screen is not an ideal choice. Also because of the reflected light of the green screen, your subject will appear unnaturally bright.
The main advantage of a blue screen is that there will be much less color bleeding.
The brightness value of blue is lower, so it does not reflect more light. When shooting subjects with fine details, the blue screen allows these details to be preserved after keying.
For example, when shooting blond people, a blue screen is more suitable than a green screen. If you use a green screen, you will lose a lot of hair details, and golden objects are more likely to be locked on a blue screen.
Blue screen is also friendlier for night scenes because it reflects less light and the subject will look more natural.
The biggest disadvantage of a blue screen is that you need more light to expose correctly.
This can be a problem if there is not enough bright lighting available, or if there is not enough budget to provide the necessary lighting intensity.
Another disadvantage of blue screen is that blue is so common in clothing color schemes that things like blue jeans and blue suits can cause problems and cost a lot of extra work in post-production.
Even in order to correctly choose the screen color on a certain occasion, Liu Qingshan even specially transferred special effects artists from Snowy Land to the crew to help the shooting go smoothly.
And each of them has a strict division of responsibilities. For example, Frederick's main job is to follow up the progress of the entire film, and arrange manpower allocation and business guidance where CG special effects need to be produced.
Hans was specifically responsible for the production of several scenes in the film, including some CG special effects in the casino and the finale.
Paul is mainly responsible for the piano-demon battle and the final fight.
As for Liu Qingshan, he is responsible for the overall visual effects supervisor. This job is absolutely impossible, because its existence will play an irreplaceable role in any special effects production process.
In the industry, this position even has a dedicated name called Visual Effects Supervisor, which literally translates to visual effects supervisor.
The special effects artists in Snowy Land have been holding meetings for "Kung Fu" a few months ago to discuss all aspects of special effects creation and production.
And we started testing it a few months ago, and looking for reference materials to provide for every meeting.
During the filming of the movie, a total of 7 colleagues needed to follow the filming process with the filming team.
Once the shooting is completed, editing will begin. Once the rough draft is ready, the film will be scanned into the computer at Snowland Company, and then sent back to Snowland Cyberport to start making special effects. The entire film is based on Produced by 2K,
Their rich experience in producing CG special effects is second to none in the Bollywood industry, even compared with Hollywood special effects artists.
Next, they need to deal with a lot of post-production work, including a lot of wire removal (Wire Removal), to all large and small CG special effects.
After all the stunts are completed, the entire film, including those with and without stunts, will go through a conform process on the professional iQ software, which will integrate the entire set of videos in high-resolution form.
The last step is to perform DI color correction (Calibration). After all processes are completed, all data will be sent to the Snowy Digital Center for film output.
Regarding these, Zhou Xingchi, who produced "Shaolin Football" last year, is not familiar with the specific process.
This is because only the stunt shots of "Shaolin Soccer" were processed in 2K, while the entire film of "Kung Fu" was scanned in 2K.
As for 2K, it generally refers to 2K resolution, which is a general term that refers to a resolution level where the horizontal resolution of a screen or content reaches approximately 2,000 pixels.
Since the 16:9 ratio is the international standard for high-definition video specifications, the common formats of 2K resolution in video production, display and other fields are 2048*1152 and 1080P (FullHD).
"Kung Fu" has a total of more than 500 special effects shots. The first version took about 8 months of special effects production, and then there was more than a month of post-production color correction work.
